BOOK  OF  THE 

OPERA 


'he 


VICTOR  BGDK 
\  ofihc  OPER6D 

Stories  of  One-hundred  Operas 

wit/^Five-Tiundrcd  lustrations 

&  descriptions1  of  One-Thousand 

Victor  Opera  Records 


•Vw.  „  ! 


IJYictoT  Talking  Machine  C 

Camde 





Copyright   1912 
VICTOR  TALKING  MACHINE  COMPANY 

Camden,  New  Jersey,  U.S.A. 


REVISED  EDITION 

Copyright   1913 

VICTOR  TALKING  MACHINE  COMPANY 

Camden,  New  Jersey,  U.  S.  A. 


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LU      -  ^««£/     v^^gggg3£?";,1,,KS4'^  :,,:     ,:.  j, 

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A  LTHOUGH    the   Opera  Stories  in  this    book  are  in  alphabetical  order, 
^^  under  the  most  familiar  of    the  various  titles,   this  index  will  be  found 
convenient  for  quick  reference. 

1 

Africana,  Africaine  ......      11       Fra  Diavolo     146 
Aida                ...                              15       Freeshooter,  The    ...               149 

I 

Amleto  169       Freischutz,  Der  149 
Andrea  Chenier     27 
Germania       152 

1 

Barbiere  di  Siviglia  29       Gotterdammerung     162 
Bartered  Bride                                  35       Griselidis                                           167 

I 

I 

Boheme      37       Guglielmo  Tell    472 
Bohemian  Girl            43       Guillaume  Tell                        .      472 

I 

I 

1 

Cavalleria  Rusticana    ....     61       Hansel  and  Gretel  173 
Chimes    of   Normandy   ...      67       Hernani     94 
Contes  d'Hoffman      411       Herodiade,  Herodias     .    .    .    .177 
Huguenots   Les            .    .               18O 

Damnation  of  Faust  .    .    .              68 
Daughter  of  the  Regiment            72      Jewels  of  the  Madonna  .    .187 
Dinorah     73 
Don  Carlos  75       ^.^  Q{  Lahore  ^                     ^ 

Don   Giovanni,  Don  Juan  .    .      77       Konigskinder   189 

I 

Donne  Curiose                                  83 
Don  Pasquale      85 
Dusk  of  the  Gods      162       L'  Africana,  L'Africaine    ...     11 
Lakme    192 
Elisir  d'Amore    (Elixir)  .        .91       Linda  di  Chamounix    .    .    .       196 
Ernani    94       Lobet*nz    197 
Lohengrin     199 
Falstaff                                              1O1       Louise     208 

Faust                                                     1O3       Lucia  di  Lam  mer  moor  ....  209  • 
Favorita,  La     126       Lucrezia  Borgia  216 
Fidelio    131 

Flying  Dutchman  134       Magic  Flute.  The        226 
Force  of  Destiny  141       Manon     (Massenet)      .    .    .    .231 
Forza  del  Destino.  La  .    -    .    .141       Manon  Lescaut     (Puccini)       241 
(Index  continued  on  pazeS) 

I 

I; 

0   '  ."'',  1  '          1        •    oA  1  rr  ^  4        '    '   •'''  ''  '"" 

IH 

FAMOUS     AMERICAN      OPERA      HOUSES 


Maritana 

Marriage  of  Figaro 
Martha.  Marta  •  - 
Masked  Ball  .  .  . 
Mefistofele  .... 
Meistersinger,  Die 
Mephistopheles  .  . 

Mignon 

Mikado      

Mireille 

-Natoma 
Norma  .... 
Nozze  di  Figaro 

Orfeo  ed  Euridice  .  .  . 
Orpheus  and  Eurydice 
Otello 


Robert  the  Devil 
Robin  Hood 
Roi  de  Lahore,  Le 
Romeo  and  Juliet 
Rustic   Chivalry 


Samson  and  Delilah 
Samson  et  Dalila 
Sapho     (Gounod)    . 
Segreto  di   Susanna 
Semiramide      .    . 
Shepherd  King,  The 
Sicilian  Vespers 
Siegfried    .    .    . 
Snegourotchka 
Snow  Maiden,  The 
Sonnambula,  La  . 


Tales  of  Hoffman 411 

Tannhauser 415 

Thais      425 

Tosca 428 

Traviata,  La 435 

Tristan  und  Isolde  .    .    .  443 

Trompeter  von  Sakkingen,  The45  8 

Troubadour,  The 44? 

Trovatore,  II 447 

Trumpeter  of  Sackingen,  The  458 


Valkyrie,  La        46O 

Vascello  Fantasma,  II      .    -    .134 
Vespri  Sicilian!,  I  .    .         ...  459 


Walkiire,  Die 460 

Werther 47O 

William  Tell    .  -472 


Zauberflote,  Die 

Zaza    . 


Pagliacci 

Parsifal 

Patience 

Pearl  Fishers 

Pearl  of  Brazil    .... 

Pecheurs  de  Perles,  Les 

Pescatori  di  Perle  .    .    . 

Pinafore 

Pirates  of  Penzance  .    . 

Profeta,  Prophete  .    .    . 

Prophet,  The 

Puritani,  I 

Puritans,  The       .... 

Queen  of  Sheba  (Goldmark)     355 
Queen  of  Sheba     (Gounod)       356 

Regina  di  Saba  . 
Re  Pastore,  II  .  . 
Rheingold,  Das  . 
Rigoletto  .... 
Rinaldo  .... 
Robert  le  Diable 


lllll!!!!! 


foreword 

Opera  in  America 

The  opera  has  at  last  come  into  its  own  in  the  United  States.  In  former 
years  merely  the  pastime  of  the  well-to-do  in  New  York  City  and  vicinity, 
grand  opera  is  now  enjoyed  for  its  own  sake  by  millions  of  hearers  through- 
out the  country.  Boston,  Chicago,  Philadelphia,  New  Orleans,  San  Francisco 
and  Montreal  now  have  their  regular  opera  season  ;  while  many  other  cities 
have  arranged  for  occasional  performances. 

The  Victor  Responsible  for  Much  of  this 
Awakened  Interest 

During  the  recent  season  several  hundred  performances  of  grand  opera, 
at  an  estimated  cost  of  millions  of  dollars,  were  given  in  the  United  States. 
This  great  outlay  for  dramatic  music  alone  would  not  have  been  possible 
had  it  not  been  for  the  increased  interest  aroused  in  opera  by  the  wide- 
spread distribution  by  the  Victor  during  the  past  ten  years  of  hundreds  of 
thousands  of  grand  opera  records,  at  widely  varying  prices — from  the 
double-faced  records  by  well-known  Italian  and  French  artists  of  Europe, 
at  37/^  cents  per  selection,  to  the  great  concerted  numbers  by  famous 
singers  at  $6.00  and  $7.00. 

The  Opera-Goer  and  the  Victor 

Even  though  fortunate  enough  to  be  able  to  attend  the  opera,  the  lover 
of  operatic  music  is  reminded  that  with  the  Victor  and  the  operatic 
records  his  enjoyment  of  the  opera  may  be  greatly  increased.  The  favor- 
ite singers  may  be  heard  at  home  as  often  as  desired,  and  their  voices 
will  be  just  as  natural  as  in  life. 

Do  you  think  Caruso  the  greatest  of  tenors  ?  Then  do  not  be  satisfied 
•with  an  occasional  hearing  of  his  glorious  voice  at  the  opera,  but  let  him 
sing  for  you  and  your  friends  by  means  of  the  Victor. 

Is  Sembrich,  Farrar,  Tetrazzini,  Gadski,  Calve,  Schumann-Heink,  Homer 
or  Amato  your  favorite  singer  ?  The  Victor  makes  it  possible  to  hear  these 
voices  at  any  time,  no  matter  •where  the  artists  may  be  singing. 

Voices  of  Absent  Singers 

Do  you  regret  that  Melba  is  often  in  Australia  or  Europe  ?  There  is 
consolation  in  the  thought  that  her  voice  is  always  here  in  all  its  loveliness, 
indelibly  impressed  on  Victor  discs. 

Have  you  memories  of  Tamagno  when  he  was  at  his  best  ?  The  Victor 
•will  revive  these  memories  for  you  by  bringing  the  voice  of  this  singer  back 
from  the  grave.  (Fonvord  continued  on  page  9) 


iiiiiiiiiiiiiiin 


The  Victor  an  Excellent  Substitute  for  the  Opera 

For  every  person  -who  can  attend  the  opera  there  are  a  hundred  who 
cannot.  However,  many  thousands  of  lovers  of  the  opera  in  the  latter 
class  have  discovered  what  a  satisfactory  substitute  the  Victor  is,  for  it 
brings  the  actual  voices  of  the  great  singers  to  the  home,  with  the  added 
advantage  that  the  artist  will  repeat  the  favorite  aria  as  many  times  as  may 
be  wished,  while  at  the  opera  one  must  usually  be  content  with  a  single 
hearing;  and  even  though  the  scenery  and  costumes  may  be  lacking,  the 
absence  of  these  accessories  •will  now  be  atoned  for  in  some  measure  by  the 
graphic  descriptions  and  numerous  illustrations  in  this  book. 


The   Victor  Opera  Season  Never  Ends 

In  former  years,  after  the  close  of  the  opera  season  and  the  annual 
migration  of  the  artists  to  Europe,  no  one  seemed  to  think  much  about 
grand  opera  or  opera  singers.  The  Victor,  however,  has  changed  all  this, 
and  operatic  records  now  form  a  most  important  part  of  the  musical  life 
of  the  home ;  and  at  all  seasons  of  the  year  may  be  heard  the  voices  of  the 
great  singers,  a  consolation  and  a  delight  to  opera  lovers. 

This  Book  the  First  of  Its  Kind 

This  little  work  is  unique  in  many  respects,  and  while  there  are  many 
excellent   books    describing   the    plots   of   the   operas,  we   think   that   in  no 
other  book  on  opera  can  be  found  all  of  these  features : 
<I  Titles  in  various  languages,  with  pronunciation  of  each. 
<I  Date  and  place  of  original  production. 
€J  Date  and  place  of  first  performance  in  America. 
€J  Cast  of  characters  and  pronunciation  of  the  same  when  necessary. 
If  Brief  and  clearly  stated  synopsis  of  plots  of  one  hundred  different  operas. 
<I  Translations  (all  or  part)  of  the  text  of  several  hundred  separate  numbers. 
€J  Every  act  and  scene  indicated,  with  description  of  the  stage  setting. 
^f  Every  separate  number  mentioned  in  its  proper  place  in  the  opera,  and 

the  numbers  placed  in  the  order  in  which  they  occur. 
^[  More    than    five    hundred    portraits   and    pictures,    making    it    the    most 

completely  illustrated  book  on  opera  ever  published. 


NOTE— Acknowledgment  must  be  made  to  Oli 
to  quote  occasionally  from  their  copyrighted  publications.     Both  these  h 


their  operatic  publications — Schirmer  with  superbly  printec 
entitled ' '  Operatic  Anthology" ;  and  Ditson  with  the  Musicia 


Ditson  Co.  and  G.  Schirmer  for  kind  permission 
have  set  new  standards  with 
nted  opera  scores  and  collections  of  opera  airs 
;f  Library,  masterpieces  of  music  typography. 


I   CARUSO  AS  VASCO  PI  GAMA 


(Italian) 

L'AFRICANA 

(Laf-ree-kah'-nah) 

DIE  AFRIKANERIN 

(Dee  Ah-free-kah' -ner-in) 


(French) 

L'AFRICAINE 

(Laf-ree-kahn) 
(English) 

THE  AFRICAN 


OPERA  IN  FIVE  ACTS 

Text  by  Scribe  ;  music  by  Meyerbeer.  First  produced  at  the  jJcademie,  Paris,  April  28, 
1865.  First  London  production  in  Italian,  under  the  French  title,  at  Covent  Garden,  July  22, 
1865;  and  in  English  at  the  Royal  English  Opera,  Covent  Garden,  October  21,  1865.  First 
New  York  production  December  1,  1865.  Revived  in  1906  at  the  Metropolitan,  with  Caruso, 
Fremstad,  Plancon  and  Journet. 


Characters  in  the  Opera 

,  (Say-lee  -kah)  a  slave,  formerly  an  African  princess 
INEZ,  (Ee'-nez)  daughter  of  Don  Diego 
ANNA,   her   attendant  ...................  T 

NELUSKO,   (Nay-loos'  '-ko)   a  slave,  formerly  an  African  chief 
DON  PEDRO,  (Don  Pay'-dro)  President  of  the  Royal  Council 

GRANDE  INQUISITORE 

DON  DIEGO,  (Don  Dee-ay1  '-go)  Member  of  the  Council 

HIGH  PRIEST  OF  BRAHMA  (Brah'-mah) 

DON  ALVAR,  Member  of  the  Council 

VASCO  DI  GAMA,  (Vahs'-ko  dee  Gah'-mah]  an  officer  in  the  Portuguese  Navy,  Tenor 

Chorus  of  Counsellors,  Inquisitors,  Sailors,  Indians  and  Attendant  Ladies. 


Soprano 

Soprano 

Contralto 

Basso 

Basso 

Basso 

Basso 

Basso 

Tenor 


The  action  occurs  in  Portugal,  on  Don  Pedro 's  ship  at  sea,  and  in  India. 
11 


VICTOR      BOOK      OF      THE      OPERA  — THE      AFRICAN 

ACT  I— Council  Chamber  of  the  King  of  Portugal 

The  first  scene  occurs  at  Portugal,  in  the  King's  Council  Chamber,  whither  Vasco  di 
Gama  has  come  to  announce  his  discovery  of  a  strange  land,  producing  two  of  the  native 
slaves,  Selika  and  Nelusko,  as  proof.  In  this  scene  is  given  the  noble  and  stately  chorus 

Dio  che  la  terra  venera  (Thou  Whom  the  Universe  Adores) 

By  La  Scab  Chorus  (In  Italian)     *62614     10-inch,  $O.75 

Don  Pedro,  President  of  the  Council,  who  wishes  to  marry  Vasco 's  sweetheart,  Inez, 
influences  that  body  to  discredit  the  explorer's  tale  and  throw  him  into  prison  with  his 
slaves.  In  the  prison  scene  occurs  this  duet  between  Selika  and  di  Gama. 

ACT  II— Prison  of  the  Inquisition 

As  the  curtain  rises  fiasco  is  seen  asleep  on  a  bench,  while 
Selika  watches  over  him.  She  gazes  at  the  sleeping  youth  and 
sings  this  beautiful  lullaby. 

Aria  de  Sonno,  **  In  grembo  a  me"    ("Lulled 
in  My  Arms) 

By  Margarete  Matzenauer,  Contralto 

(In  Italian)     88360     12-inch,  $3.00 

The  slave,  seeing  her  master's  grief  over  his  inability  to  find 
the  route  to  the  unknown  country,  reveals  to  him  the  location  of 
the  coveted  land.  Vasco,  overcome  with  gratitude,  embraces  her. 

Sei  1'angiol  diletto  (Oh  !    Guardian  Angel !) 

By  Tina  Farelli,  Soprano,  and  Gino  Martinez-Patti, 

Tenor  (In  Italian)      *62407      lO-inch,   $O.75 

Inez  consents  to  marry  Don  Pedro  in  order  to  save  Vasco,  who 
is  released,  but  too  late  to  prevent  his  enemy  from  sailing  in 
search  of  the  unknown  land,  carrying  with  him  Vasco' s  private 
papers  and  maps  as  well  as  the  two  slaves,  Selika  and  Nelusko. 
The  latter,  who  loves  Selika,  has  discovered  her  attachment  for 
Vasco,  and  through  jealousy  offers  to  guide  Don  Pedro  to  his 
country.  The  young  officer  secures  a  ship  and  goes  in  pursuit. 

ACT  III— Decfe  of  Don  Pedro's  Ship 

Preludio     (Prelude  to  Act  III) 

By  La  Scala  Orchestra  *62614     lO-inch,     $O.75 

Act  III  shows  the  decks  of  Don  Pedro's  vessel.  Nelusko,  who  is  secretly  plotting  to  de- 
stroy the  ship,  is  brooding  over  his  plans ;  and  his  gloomy  bearing  being  noticed  by  the 
sailors,  they  ask  him  to  relate  the  old  legend  of  Adamastor,  king  of  the  seas. 

Adamastor,  Re  dell'  onde  profonde     (Ruler  of  Ocean) 

By  Francesco  Cigada,  Baritone  (In  Italian)     *62407     10-inch,     $0.75 

NELUSKO:  When   the  gale  rolls  o'er  the  deep, 

Adamastor,   monarch   of  the   pathless   deep,  Then  beware,   then  beware! 

Swift  o'er  foaming   waves  See,   the   lightning's  flash   reveals   to   thine  eye, 

To  sound  of  fierce  winds  tramping;  ?° w  the  dark  waves  seek  the  storm-laden  sky. 

When  his  dark  steeds  vex  the  misty  sea,  £«.  hope  ™w  »  lost^   ^ 

Beware,    mi  iseware,    m;  None,  none  but  a  watery  grave! 

A  storm  is  threatened,  and  amid  the  preparations  for  resisting  the  elements  a  ship  is 
seen,  which  proves  to  be  di  Gama  s.  He  rashly  comes  on  board,  is  promptly  seized  by  Don 
redro  and  is  about  to  be  executed,  when  Selika  draws  her  dagger  and  threatens  to  kill  Inez 
unless  her  lover  is  re  eased.  The  tyrant  reluctantly  yields,  but  afterward  orders  Selika  to  be 
Hogged  1  he  storm  breaks,  and  m  its  midst  the  ship  is  boarded  by  Indians,  fellow-country, 
men  of  Nelusko,  and  the  entire  ship's  company  are  either  killed  or  made  prisoners. 

ACT  IV—  Temple  of  Brahma 

Act  IV  represents  the  Temple  of  Brahma  in  the  country  of  Selika  and  Nelusko.      The  act 
opens  with  the  weird  and  striking  Indian  March,  played  here  by  the  Herbert  Orchestra. 
*  Doubk-FaceJ  Record-For  title  ofofifoste  ,ije  **  DOUBLE-FACED  L' AFRICAN  A  RECORDS.  page  13. 

12 


VICTOR      BOOK      OF     THE      OPERA  — THE      AFRICAN 


Marcia  Indiana  (Indian  March) 

By  Victor  Herbert's  Orchestra  70068     12-inch,  $1.25 

By  La  Scala  Orchestra  *68027     12-inch,     1.25 

The  priests,  who  have  crowned  Seli^a  their  Queen,  announce 
the  execution  of  all  the  prisoners  except  Vasco ;  and  he  too  is  con- 
demned to  die.  The  priests  and  people  disperse  and  Vasco  enters, 
guarded  by  soldiers.  He  is  entranced  with  the  beauty  of  this  -won- 
derful land,  of  -which  he  had  dreamed,  and  voices  his  admiration  in 
the  celebrated  air,  "O  Paradiso.  " 

O  Paradiso  !    (Oh  Paradise  !) 

By  Enrico  Caruso, Tenor  (In  Italian/  88O54  12-inch,  $3.OO 
By  Florencio  Constantino  (Inltalian)  74085  12-inch,  1.5O 
By  Evan  Williams  (InEnglish)  74148  12-inch,  1.50 

By  Lambert  Murphy        (In  Italian)      7O1OO     12-inch,     1.25 

VASCO  : 

Hail !    fruitful    land    of    plenty,    beauteous    gar- 
den, hail! 

An   earthly   paradise   art   thou ! 
Oh  Paradise  on  earth! 
Oh  azure  sky,  oh  fragrant  air 
All  enchant  my  heart; 
Thou   fair   new   world  art   mine! 
Thee,   a   radiant   gift, 
On  my  native  land  I'll  bestow! 
O  beauteous  country — mine  thou  art  at  last! 

Caruso's  singing  of  this  famous  air  is  a  magnificent  performance, 
•while  two  other  fine  records  are  offered  in  both  Italian  and  English. 
The  soldiers  are  about   to  kill  Vasco,  but  he  is  saved  by  Selilfa, 
who  announces  that  he  is  her  chosen  husband.     Nelusfao  is  forced  to 
remain   silent  by  threats   that  Selilfa  •will  destroy  herself.     Di  Gama, 
forgetting  Inez,  yields  to  the  spell  and  weds  the  Queen  by  the  native  rites. 

ACT  V— SCENE  I—  The  Queen's  Gardens 

At  the  beginning  of  the  last  act,  Inez,  who  had  escaped  from  the  prison,  is  captured  and 
brought  before  the  Queen,  who  becomes  convinced  that  di  Gama  still  loves  the  Portuguese 
maiden.  In  a  moment  of  generosity  she  sacrifices  her  own  feelings  and  assists  the  lovers 
to  escape.  ACT  V— SCENE  II— Promontory  Over  the  Sea 

The  final  scene  shows  a  promontory  from  which    Selilfa  is  -watching  the  ship  bearing 
Inez  and    di   Gama    toward    Portugal.       As    the   vessel    disappears    from  view   she    advances 
toward  the  deadly  mancanilla  tree,  the  fumes  of  -which  are  death. 
SELIKA: 

Aye!  here  I  look  upon  the  mighty  sea — bound- 


less— infinite 
As  is  my  woe! 
Its  waves  in  angry  fury  break,  and  then  anon 

their  course   renew, 
As  doth  my  sorrowing  heart! 


Thou  leafy  temple,   thou  vault  of  foliage  dark. 

After  life  s  weary  tumult  I   now  come 

To  seek  repose  of  thee,  and  find  oblivion  from 


Yes!   thy  shade  eter 
the  tomb! 


the   darkness  of 


Gathering  the  fatal  flowers,  she  inhales  their  perfume,  sadly  saying :  "Farewell,  my  Vasco, 
I  forgive  thee !"  She  is  overcome  and  sinks  unconscious  beneath  the  tree.  Nelusffo,  who 
has  come  in  search  of  her,  finds  her  dying ;  and  in  a  frenzy  of  grief,  also  inhales  the  deadly 
blossoms  and  falls  lifeless  by  her  side. 

DOUBLE-FACED  L'AFRICAINE  RECORDS 

/Marcia  Indiana  (Indian  March)  By  La  Scala  Orchestral,  an/,  _ 

Traviata—Preludio  By  La  Scala  Orchestraf*0 

Adamastor,  Re  dell  onde  profonde   ( Adamaster,  Ruler  of  the 

Ocean)  By  Francesco  Cigada.  Baritone     (In  Italian) 

Sei    L'angiol   di   letto     (Oh,  Guardian  Angel ! )     By  Tina 

Farelli,  Soprano;    G.  Martinez-Patti,  Tenor  (Inltalian) 

/Dio  che  la  terra  venera  By  La  Scala  Chorus     (In  lialiari)\,~,,  . 

\Preludio-Atto  III  By  La  Scala  Orchestra fd2&14 


.     ,      <.  „, 
mch,  $1.25 


62407     10-inch,        .75 


.75 


Double-Faced  Record— For  title  o/c 


site  side  see  above  list. 
13 


(Italian) 

AIDA 

(Ah-ee'-Jah) 

OPERA  IN  FOUR  ACTS 

Text  translated  from  the  French  of  Locle  by  Antonio  Ghislanzoni.  Music  by  Giuseppe 
Verdi.  First  produced  in  Cairo,  December  24,  1871  ;  at  La  Scala,  Milan.  February  8,  1872; 
in  Paris,  April  22,  1876;  at  Covent  Garden,  June  22,  1876;  at  St.  Petersburg,  1879.  First 
performance  in  America  at  the  Academy  of  Music,  New  York,  November  26,  1873,  the  cast 
including  Torriani,  Gary,  Campanini  and  Maurel.  Produced  in  New  York  in  1886  in  both 
German  and  in  English. 


Characters  of  the  Drama 
opiar 

THE  KING  OF  EGYPT 

AMNERIS,    (Am-nare'.ia)  his  daughter 

RHADAMES,  (Rahd1 -ah-maze)  Captain  of  the  Guard . 
AMONASRO,  (Am-oh-nahz'-roh)  King  of  Ethiopia.  . 
RAMFIS,  (Rahm'-fi*)  High  Priest 

A  MESSENGER 


Soprano 

Bass 

.  Mezzo-Soprano 

Tenor 

Baritone 

Bass 

Tenor 


Priests,  Priestesses,  Ministers,  Captains,  Soldiers,  Officials,  Ethiopian 
Slaves  and  Prisoners,  Egyptians,  etc. 


The  scene  is  laid  in  Memphis  and  Thebes,  in  Pharaoh' s  time. 


This  opera  was  written  by  request  of  the  Viceroy  of  Egypt,  who  wished  to  celebrate 
the  opening  of  his  new  Opera  House  at  Cairo  by  the  production  of  a  work  upon  an  Egyptian 
subject  from  the  pen  of  the  most  popular  composer  of  the  time.  The  story  originated  with 
Marietta  Bey,  the  famous  Egyptologist,  and  seems  to  have  inspired  Verdi  to  unusual  efforts. 
Aida,  daughter  of  Amonasro,  King  of  Ethiopia,  has  been 
captured  by  the  Egyptians  and  is  a  slave  at  the  Court  of 
Memphis,  where  she  and  the  young  soldier  Rhadames  have 
fallen  in  love  with  each  other.  Rhadames  goes  to  the  Egyptian 
war,  and  during  his  absence  the  King's  daughter,  Amneris, 
discovers  his  attachment  and  is  furious,  as  she  herself  loves 
Rhadames. 

Rhadames  returns,  covered  with  glory  and  bringing  many 
prisoners,  among  them  Amonasro,  Aida's  father.  The  King 
releases  all  the  prisoners  except  Amonasro,  and  bestows  his 
daughter  on  the  unwilling  Rhadames. 

In  the  next  scene  Amonasro  forces  his  daughter  to  persuade 
Rhadames  to  become  a  traitor.  The  letter's  love  for  Aida  and 
his  distaste  for  the  approaching  union  with  Amneris  lead  him 
to  consent.  Amneris,  however,  has  overheard  the  plot,  and 
after  vainly  trying  to  induce  Rhadames  to  abandon  Aida,  she 
denounces  him  as  a  traitor,  and  he  is  condemned  to  be  buried 
alive.  When  the  vault  is  sealed  he  discovers  Aida,  who  had 
concealed  herself  there  that  she  might  die  with  him ;  and  the 
lovers  slowly  suffocate  in  each  other's  arms. 

ACT  I 

SCENE  1     A  Halt  in  the  Palace.       Through  the  grand  gate  at  the 
back  may  be  seen  the  Pyramids  and  the  Temples  of  Memphis 
The  opera  has  no  overture.      The  curtain   rises,  showing  a 
hall  in  the  palace  of  the  King  of    Memphis,    where    Rhadames 
CARUSO  AS  RHADAMES  and    the    High    Priest,    Ramfis,    are     discussing    the     coming 

15 


VICTOR       BOOK      OF      THE      OPER  A— V  E  R  D  I  '  S      A  I  D  A 


invasion  of  Ethiopia ;  and  Ramfis  hints  that  some  young  and 
brave  warrior  may  be  chosen  to  command  the  expedition. 
Rhadames,  left  alone,  hopes  that  he  himself  may  gain  the 
coveted  honor,  and  promises  to  lay  his  triumphs  at  the  feet  of 
his  Aida. 

Celeste  Aida  (Heavenly  Aida) 

By  Enrico  Caruso,  Tenor 

(In  Italian)      8812 1      12-inch,   $3.OO 
By  Leo  Slezak,  Tenor 

(In  German)     64113      lO-inch,      l.OO 

Then  occurs  the  splendid   gem  of  Act  I,  the   Celeste  Aida, 
ining 


C«  -  le  ste  A  -  i  -  da,       lor  -  ma  di    vi  -  na,-    mi 
ffeav'n-ly  *A  •  i  •  da,        beau  ly  re-sfilrn-dent.— 


ser-to       di      lu  - 

-cr.  bloom-ing  ami  bright 


in  which  Rhadames  chants  the  praises  of  the  peerless  Aida. 
It  is  seldom  enjoyed  at  the  opera,  especially  in  America,  as  it 
occurs  almost  immediately  after  the  rise  of  the  curtain,  and  is 
invariably  marred  by  the  noise  made  by  late  comers.  With 
the  Victor,  however,  it  may  be  heard  in  all  its  beauty  and  the 
fine  renditions  by  Caruso  and  Slezak  fully  appreciated. 


RHADAMES: 
Heavenly   Aida,    beauty    resplendent, 

Radiant   flower,   blooming   and   bright; 
Queenly  thou  reignest  o'er  me  transcendent, 

Bathing   my   spirit   in   beauty's   light. 


Would  that  thy  bright  skies  once  more  behold- 
ing. 

Breathing  the  soft  airs  of  thy  native  land, 
Round  thy   fair  brow  a   diadem    folding, 

Thine  were  a  throne  next  the  sun   to  stand! 


A  fine  trio,  expressing  the  emotions  of  the  characters  in 
the  scene,  then  follows. 

Ohime  !  di  guerra  fremere  (Alas  !  the 
Cry  of  War  I  Hear) 

By  Elena  Ruszcowska,  Soprano ;  Bianca  Lavin 
de  Casas,  Mezzo-Soprano ;     Egidio   Cu- 
nego.  Tenor  (In  Italian)     88261      12-inch,  $3.OO 
The  King's  daughter,  Amneris,  enters,  and  seeing  the  young 
warrior's  glowing  enthusiasm,   delicately  hints  of  her   secret 
affection  for  him,  saying : 
AMNERIS: 

What   unwonted   fire   in   thy   glance! 
With  what  noble  pride  glows  thy  face! 
Worthy   of  envy — oh,   how  much — 
Would  be   the    \yoman    whose   beloved   aspect 
Should  awaken  in  thee  this  light  of  joy! 

Rhadames  begins  to  explain  his  hope  of  securing  the 
command  of  the  expedition,  when  Aida  enters,  and  the  young 
soldier's  expressive  glance  reveals  tp  Amneris  his  love  for 
the  Egyptian  slave. 

The  King  and  his  guards  enter  and  receive  a  messenger,  who 
reports  that  Egypt  has  been  invaded  by  the  Ethiopian  army, 
under  the  command  of  Amonasro.  ("  My  father! "  exclaims 
Aida  aside.)  Amid  great  excitement  Rhadames  is  appointed 
leader  of  the  army,  and  is  presented  with  a  banner  by 
Amneris. 

The  King  begins  another  trio,  urging  the  Egyptian  forces 
to  guard  with  their  lives  the  sacred  Nile. 


VICTOR       BOOK      OF      THE      OPER  A— V  E  R  D  I  '  S      A  I  D  A 


Su  !  del  Nilo  (Nilus1  Sacred  Shores  !) 

By  Elena  Ruszcowska,  Soprano  :  Maria 
Cappiello,  Mezzo-Soprano:   Tapergi 
and  Davi  (In  Italian)  88266     12-inch,  $3.OO 
Following  the  trio  comes  a  grand  chorus  : 
To  battle!     We'll   hunt  the  invader  down. 
On!  Rhadames,  thy  brow  may  laurels  crown! 

All  depart  to  prepare  for  the  expedition,  while  Aida, 
left  alone,  gives  way  to  her  grief  and  sings  the  beautiful 
Ritorna  vindtor,  expressing  her  conflicting  emotions. 

Ritorna  vincitor  (Return  Victorious  !) 

By  Johanna  Gadski,  Soprano 

(In  Italian)      88137      12-inch,  $3.OO 

AIDA: 

Return   victorious!      And   from   rr.y  lips 

Went  forth  the  impious  word!     Conqueror 

Of  my  father  —  of  him  who  takes  arms 

For  me  —  to  give  me  again 

A    country;    a    kingdom;    and    the    illustrious 

name 

Which   here  I  am  forced  to  conceal! 
The  insane   word   forget,   O   gods; 
Return   the  daughter 
To  the  bosom  of  her  father; 
Destroy  the  squadrons  of  our  oppressors!.  .  . 
What  am  I  saying?     And  my  love, 
Can    I    ever   fotget 

This  fervid  love  which  oppresses  and  enslaves, 
As  the   sun's  ray  which  now  blesses  me? 
Shall    I   call   death   on   Rhadames  — 
On  him   whom  I  love  so  much? 
Ah!     Never  on  earth   was  heart  torn  by  more 


\DSKI    AS    AIDA 


She  gives  way  to  her  emotion  for  a  brief  moment,  then  sings   the  lovely  and  appealing 


I  sacri  nomi  (The  Sacred  Names) 

By  Celestina  Boninsegna,  Soprano 


88223      (In  Italian)      12-inch,  $3.00 


Rousing  herself  she  calls  on  her  gods  for  aid  and  goes 
slowly  out  as  the  curtain  falls. 

SCENE  II  —  The  Temple  of  Vulcan  —  in  the  centre  an  altar, 
illuminated  by  a  mysterious  light  from  above 

Ramfis,  the  High  Priest,  and  the  priests  and  priest- 
esses have  assembled  to  bless  the  expedition.  The  chant  in 
praise  of  Ptah  is  heard  from  an  invisible  choir.  Rhadames 
enters  and  receives  the  consecrated  veil. 

RAMFIS: 

Mortal,   beloved   of  the  gods,   to  thee 

Is   confided   the    fate    of    Egypt.      Let    the    holy 

sword 

Tempered  by  the  gods,  in  thy  hand  become 
To  the  enemy,   terror  —  a  thunderbolt-death! 

RHADAMES: 

God,  who  art  leader  and  arbiter 
Of  every  human   war, 
Protect  thou  and   defend 
The  sacred  soil   of  Egypt! 

Nume,  custode  e  vindice  (God,  Guardian 
and  Avenger) 

By  Antonio  Paoli,  Tenor  ;  Perello 
de  Segurola,  Bass;  and  Chorus 

(7n  Italian)     88268     12-inch,  $3.OO 


VICTOR      BOOK      OF      THE      OPER  A— V  E  R  D  I  '  S       A  I  D  A 


Ramfis  then  sings  the  closing  invocation,  in  which  Rhadames  joins. 

He  is  invested  with  the  sacred  armor,  and  as  the  priestesses  perform  the  mystic  dance 
the  curtain  slowly  falls. 

ACT  II 

SCENE  I  —  A   hall  in  Amneris'  apartments 

The  curtain  rises,  showing  the  Princess  and  her  slaves,  who 
are  adorning  her  for  the  triumphal  festival  in  honor  of  Rhadames, 
just  returned  with  his  victorious  army.  Amneris  and  the  slaves 
sing  the  ode  to  the  returned  hero. 

Chi  mai  fra  (His  Glory  Now  Praise) 

By   Maria    Capiello,    Mezzo-Soprano, 

and  Chorus         (In  Italian)      *55OO5      12-inch,  $1.5O 
Seeing   Aida   approaching,   the  Princess  dismisses  her   slaves 
and  prepares  to  enjoy  her  revenge. 

This  scene  is  expressed  in  a  splendid  duet,  given  here  in  two 
records  by  Mmes.  Gadski  and  Homer,  and  also  by  Mmes. 
Ruszcowska  and  Lavin  de  Casas,  of  the  La  Scala  forces. 

Fu   la   sorte   dell'    armi    ('Neath  the  Chances 
of  Battle) 

By  Johanna    Gadski,  Soprano,  and   Louise  Homer, 

Contralto  (In  Italian)      89024      12-inch,  $4.OO 

By  Elena  Ruszcowska,  Soprano,  and  Bianca 

Lavin  de  Casas,  Mezzo-Soprano 

(In  Italian)      88262      12-inch,     3.OO 


Alia  pompa,  che  s'appreste    (In  the  Pageant  PHOTO 
Now   Preparing) 


HOMER    AS    AMNERIS 

By  Johanna  Gadski,  Soprano,  and  Louise  Homer,  Contralto 

(In  Italian)      89O25      12-inch,  $4.OO 

Ebben     qual     nuovo     fremito      (\</hat 
New    Alarm  ?) 

By  Elena  Ruszcowska,  Soprano,  and  Bianca 
Lavin  de  Casas,  Mezzo-Soprano 

(In  Italian)      88263      12-inch,  $3.OO 
Amneris  pretends  to  sympathize    with    the    afflicted 
girl,  saying: 

AMNERIS: 

The  fate  of  arms   was  deadly  to  thy   people. 

Poor  Aida!     The  grief 

Which    weighs    down    thy    heart    I    share    with 

thee. 

I   am  thy  friend; 

Time    will    heal   the   anguish    of   thy   heart, 
And   more   than   time — a   powerful   god-love. 
AIDA: 

Oh!    love    immortal!    oh!    joy    and    sorrow, 
Sweetest  delirium,   dark   doubts  and   woes! 
As  in  thy  trials  new  life  I  borrow, 
A  heav'n  of  rapture   thy  smiles  disclose. 
AMNERIS  (aside): 

This   death-like   pallor,   this   strong   emotion, 
the   fever  of  love! 


Plainly  reveal 
(To  Aida): 


Among   the   braves   who   fought 
Lost  in   their  country's   service, 
tender 


well, 


Has    someone 

in  your  heart? 
AIDA: 

What  say'st  thou? 


sorrow    haply    waken'd 


DALMORF.S    AS    RHADAMES 

*  Double-Faced  Record—  For  title  of  oppoiltc  ,iJe  see  DOUBLE-FACED  AIDA  RECORDS,  page  26. 

19 


VICTOR      BOOK      OF      THE       OPER  A— V  E  R  D  I  '  S       A  I  D  A 

AMNERIS:  AMNERIS: 

Tremble!      I   read  thy   secret,  Tremble,    vile   minion!    be   ye    heartbroken, 

Thou  lov'st  him!   lie  no  longer!  Warrant  of  death  this  love  shall  betoken! 

I   love  him   too — dost  thou   hear?  In   the  pomp   which  approaches, 

I  am  thy   rival,   daughter  of  kings  Egyptian.  With  me,   O   slave,   thou   shall   assist; 

Thou   prostrate  in  the  dust — 
AIDA:  I   on  the  throne  beside  the   King; 

Thou  my  rival?  'tis  well,   so  be  it —  Come,  follow  me,  and  thou  shalt  learn 

Ah,   what   have   I   said?   forgive   and  pity,  If  thou  canst  contend  with  me! 

Ah,  let  this  my  sorrow  thy  warm  heart  move.  AIDA: 

'Tis   true    I    adore    him    with    boundless    love —         Ah,   pity!     What   more   remains  to  me? 

Thou  art  so  happy,  thou  art  so  mighty,  My  life  is  a  desert; 

I   cannot   live   hence   from   love   apart!  This  love  which  angers  thee 

In  the  tomb  I   will  extinguish! 

Always  a  highly  impressive  number,  this  duet  is  doubly  so  when  rendered  by  such 
famous  exponents  of  the  parts  of  Aida  and  Amneris.  Mme.  Gadski's  Aida  is  one  of  her 
most  effective  roles — splendidly  acted  and  vocally  perfect ;  while  Mme.  Homer's  impersona- 
tion of  the  Egyptian  Princess  is  always  a  thrillingly  dramatic  one. 

The  rendition  by  the  two  La  Scala  artists  is  one  of  the  finest  which  has  come  to  us  from 
Milan. 

SCENE  \\-Without  the  City  Walls 

The  scene  changes  to  a  gate  of  the  city  of  Thebes.  The  King  and  his  court  are 
assembled  on  a  magnificent  throne  to  receive  the  conquering  army.  A  splendid  chorus  is 
sung  by  people  and  priests.  The  Egyptian  troops,  preceded  by  trumpeters,  enter,  followed 
by  chariots  of  •war,  ensigns,  statues  of  the  gods,  dancing  girls  carrying  treasures,  and  finally 
Rhadames,  under  a  canopy  borne  by  twelve  slaves ;  the  procession  headed  by  bands  of 
musicians  playing  the  famous  Triumphal  March. 

Grand  March   (Triumphal  March) 

By  Vessella's  Italian  Band  *35265      12-inch,  $1.25 

Vessella  has  admirably  produced  the  familiar  effect  of  the  two  bands  playing,  at  first 
separately,  and  then  together. 

KING    (descending   from    the    throne    to    embrace         (Rhadames    bows    before    Amneris,    who    places 

Rhadames):  the  crown  upon  him.) 

Saviour  of  our  country,  I  salute  thee.  Now   ask  of  me 

Come,  and  let  my  daughter  with  her  own  hand         What   thou    most   wishest.      Nothing    denied   to 
Place  upon   you   the  triumphal   crown.  thee 

On  such  a  day  shall  be — I  swear  it 
By  my  crown,  by  the  sacred  gods! 

The  prisoners  enter,  including  Amonasro,  who  is  dressed  as  an  officer.  Aida  sees 
him  and  cries,  "What  do  I  see!  My  father!"  All  are  surprised,  and  Amonasro  signals  to 
Aida  not  to  betray  his  rank.  Amonasro  then  sings  his  recital : 

Quest'  assisa  ch'io  vesto  (This  Dress  Has  Told  You) 

By  Ernesto  Badini,  Baritone ;  Sra.  Fabris,  Soprano ;  Lavin  de  Casas,  Mezzo- 

Soprano ;  Egidio  Cunego,  Tenor  (In  Italian)      88264      12-inch,  $3.OO 

AMONASRO: 

I   am   her   father.      I    went  to   war,  Lay  the   King,  transfixed  by  many   wounds; 

Was   conquered,    and    death    I    sought   in   vain.  If  the  love  of  country  is  a  crime 

(Pointing    to    his   uniform)  We  are  all  criminals — all  ready  to  die! 

This  habit   I   wear  may  tell  you  (Turning     to     the     King    with     a    supplicating 
That   I    have   defended   my  king  and   my  coun-  accent) 

try.  But   thou.    O   King,   thou   powerful   lord, 

Fate  was  hostile  to  our  arms:  Be   merciful    to   these   men. 

Vain   was   the  courage   of  the   brave!  To-day  we  are  stricken  by   Fate, 

At    my   feet,    in    the   dust    extended.  To-morrow   Fate   may   smite  thee! 

The  people  and  prisoners  appeal  to  the  King  for  mercy,  while  the  priests  demand  that 
the  captives  be  put  to  death.  Rhadames,  seeing  the  hesitation  of  the  King,  reminds  him  of 
his  vow,  and  demands  life  and  liberty  for  the  captured  Ethiopians.  The  King  yields, 
stipulating  only  that  Aida  and  her  father  be  held  as  hostages,  and  then  announces  that 
Rhadames  shall  have  the  hand  of  Amneris  as  his  reward. 

The  magnificent  finale  then  follows,  Aida  and  Rhadames  gazing  at  each  other  in  despair, 
Amneris  glorying  in  her  triumph,  and  Amonasro  swearing  secret  vengeance  against  his 
captors.  The  curtain  falls  amid  general  rejoicing. 

*  Double-Face  j  Record—  For  title  of  opposite  si  Je  see  DOUBLE-FACED  AIDA  RECORDS,  page  26. 

20 


VICTOR     BOOK      OF      THE      O  P  E  R  A— V  E  R  D  I '  S      AID  A 


THE    GREAT    CONSECRATION    SCENE 

ACT  III 

SCENE  I— A  moonlight  night  on  the  banks  of  the  Nile— the  Temple  of  Isis 
•  can  be  seen,  half  concealed  by  palm  trees 

As  the   curtain   rises  on  this   beautiful  scene,  a  chorus  -within   the 
Temple  is  heard  in  a  chant  of  praise. 

O  tu  che  sei  d'Osiride  (Oh,  Thou  'Who  Art 
Osiris) 

By  Maria  Cappiello,  Soprano,  and  Chorus 

(In  Italian)      *550O5      12-inch,  $1.5O 

CHORUS   (in  the  temple) : 
O  Thou  who  art  of  Osiris, 


Mother   immortal  and  spouse, 
(Modeless  who  awakens  the  beatings 
In  the  heart  of  human  creatures, 
Come  piteous  to  our  help. 
Mother  of  eternal  love. 


AMNERIS: 

I    will    pray    that    Rhad 

give  me 

His  whole  heart 
Is  consecrated  fo 


may 
s  mine  to  him 


A  boat  approaches,  bearing  Rhadames  and  Amneris,  who  go  into 
the  Temple.  Aida,  veiled,  cautiously  enters,  hoping  that  Rhadames 
will  come  thither,  and  sings  a  tender  and  despairing  song  of  that 
lovely  land  which  she  may  never  see  again. 

O  patria  mia  (My  Native  Land) 

By  Johanna  Gadski,  Soprano 

(In  Italian)      88O42  12-inch,  $3.OO 

By  Emmy  Destinn  (In  German)      92O58  12-inch,     3.OO    BE«T.  PAKU 

By  Celestina  Boninsegna       (Italian)      88239  12-inch.     3.OO        DESTINN  AS  AIDA 

By  Lucy  Isabelle  Marsh        (Italian)     60098  lO-inch,       .75 

*  Double-Faccd  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  AIDA  RECORDS,  page  26. 

21 


v 


CTOR      BOOK      OF      THE      OPER  A— V  ERDI'S      A  I  D  A 


O  native  land,  no  more  to  thee  shall  I  return. 
O  skies  of  tender  blue,  O  soft  airs  blowing, 
Where    calm    and    peaceful    my    dawn    of    life 
i'd  o'er, 


8   home  beloved,   I   ne'er   shall   see   thee   more! 
fresh   and   fragrant  vales,   O   quiet   dwelling, 
days  of  love  that  bore, 
h'd,   love  and  yonder   dream 


Promise  of  happy  days  of 

hope   is  banis 
dispelling, 


O  Philfs  of"  verdure,  O  perfum'd  waters  flowing,        O  home  beloved,   I  ne'er  shall  see  thee  more! 

Three  fine  renditions  of  this  air,  one  of 
the  most  effective  in  the  opera,  are  given  here 
by  three  celebrated  prima  donnas,  all  of  whom 
have  been  seen  in  America  in  this  role. 

Aida  is  about  to  depart  when  she  is 
astonished  to  see  her  father.  Amonasro  re- 
proaches his  daughter  with  her  love  for  his 
enemy  Rhadames,  telling  her  with  significant 
emphasis  that  she  may  behold  her  native  land 
again  if  she  wishes.  He  tells  her  that  his 
people  have  risen  again,  and  proposes  that 
she  shall  influence  Rhadames  to  betray  the 
plans  of  his  army  in  the  new  campaign.  She 
at  first  refuses,  but  he  bids  her  be  true  to  her 
country,  and  pictures  the  sufferings  of  her 
people. 

Ciel !  Mio  Padre  !  (Heaven !  My 
Father!) 

By  Johanna  Gadski,  Soprano, 
and  Pasquale  Amato,  Bari- 
tone 
(In  Italian)      89O67      12-inch,  $4.OO 

Rivedrai  le  foreste  imbalsamate    (Thou  Shalt    See    Again    the 
Balmy  Forests) 

By  Elena  Ruszcowska  and  Giuseppe  Maggi         (Italian)     88267     12-inch,  $3.OO 

AIDA: 

Heaven!    My    father!  Profaned    our   houses,   temples   and  altars; 

Mothers,   old  men   and  children    he   slew. 


AMONASRO: 

Grave  affairs  lead  me  to  thee,  Aida. 

Nothing  escapes  my  sight;  thou  art  destroying 

Thyself  with  love  for  Rhadames;     He  loves  thee 

And  here  thou  waitest  him. 

The  daughter  of  the  Pharoahs  is  thy  rival — 

An  infamous  race,  abhorred  and  fatal  to  us! 

AIDA: 

And  I   am   in   her  power!      I,  the   daughter   of 
Amonasro. 

AMONASRO: 

In  her  power!  No!  If  thou  wishest, 
This  powerful  rival  thou  shalt  defeat, 
And  country,  and  throne,  and  love  all  shall 

be  thine. 

Thou   shalt  see  again   the  balmy  forests, 
The  fresh  valleys,  our  temples  of  gold! 

AIDA   (with  transport)  : 

I   shall  see  again  the  balmy  forests, 


I  remember  those  unhappy  days. 

my  heart  suffered. 


Our  valleys, 
AMONASRO: 

Thou   rememberest  that  the 


AIDA: 

Ah! 

I  remember  the  grief  tha 
AMONASRO: 

Then  delay  not.     In  arms  now  is  roused 

Our  people — everything  is  ready — 

Victory   we  shall   have.     It  only   remains  for  me 
to  know 

What  path  the  enemy  will  follow. 

Who  will  be  able  to  discover  it?     Whoever? 
AMONASRO: 

Thyself! 
AIDA: 

I? 
AMONASRO: 

Rhadames   will   come   here   soon — he  loves   thee — 

He  leads  the  Egyptians.      Dost  thou  understand? 
AIDA: 

Horror!     What  dost  thou  counsel  me?     No,   no! 
Never! 


pies  of  gold 

merciless  Egyptian 

Su,  dunque  !  (Up,  Then !) 

By  Johanna  Gadski  and  Pasquale  Amato  (Italian)     89O68      12-inch,  $4.OO 

By  Elena  Ruszcowska  and  Ernesto  Badini  (Italian)      88265      12-inch,     3.OO 

With  growing  excitement  he  describes  the  consequences  of  her  refusal. 
AMONASRO    (with  savage  rage):  AIDA- 

Ah,   father! 


Up,   then! 

Rise,   Egyptian   legions! 

With   fire  destroy  our   cities — 

Spread  terror,   carnage   and   death. 

To  your  fury  there  is  no  longer  check! 


AMONASRO    (repulsing   her) : 
My   daughter 
Dost   thou    call    thyself? 


VICTOR      BOOK      OF      THE      OPER  A— V  E  R  D  I  '  S      A  I  D  A 


AIDA    (terrified  and  suppliant)'. 

Pity! 
AMONASRO: 

Rivers  of  tlood  pour 

On  the  cities  of  the  vanquished — 

Seeth  thou?     From  the  black  gulfs 

The   dead  are   raised — 

To  thee   they   point  and  cry; 

For  thee  the  country  dies! 
AIDA: 

Pity! 
AMONASRO: 

A   horrible   ghost 

Among  the   shadows  to  us   approach 

Tremble!   the  fleshless  arms 

Over  thy  head  it  r, 


It  is  thy  mother  —  recognize  her  — 

She  curses  thee! 
AIDA  (in  the  greatest  terror)  : 

Ah,  no!  Father! 
AMONASRO  (repulsing  her)  : 

Go,  unworthy  one!     Thou'rt  not  my  offsprinj 


o,  unwory  one  our    no    my  o 

Thou  art  the  slave   of  the  Pharaohs! 

,  I   am  not  — 

Reproach  me  not—  curse  me  not; 
Thy   daughter   again   thou   canst  call 


__., 0-ter   again   thou   canst  c; 

Of  my  country  I  will  be  worthy! 
AMONASRO: 

Courage!  he  comes — there,  I  shall  hear  all. 
(Conceals  himself  among   the  palm   trees.) 


AMONASRO: 
No;   thou 

It    was    the    will    of 
Come;    beyond   the   Nile   await 


not   guilty — 
sf    fate. 


Rhadames  now  enters  and  tries  to  embrace  her,  but  she 
repulses  him,  saying  bitterly : 
AIDA: 

The   rites   of  another  love   await  thee, 
Thou   spouse   of  Amneris! 

He  protests  that  he  loves  Aida  alone,  but  she   bids  him 
prove  his  affection  by  fleeing  with  her. 
AIDA: 

Ah!   fly  with  me,  and  leave  behind 
These  deserts  bare  and  blighted; 
Some  country,  new  and  fresh  to  find, 
Where  we  may  love  united. 
There,    'mid   virgin   forest  groves, 
By  fair  sweet  flow'rs  scented. 
In    quiet    joy    contented,    the    world    will    we 
forget ! 

He  finally  consents,  and  reveals  to  her  that  the  army 
will  go  by  the  pass  of  Napata.  Amonasro,  who  has  overheard, 
now  enters,  and  Rhadames  is  horrified  at  the  knowledge  that 
he  has  betrayed  the  army  to  the  King  of  Ethiopia.  His 
scruples  are  finally  overcome,  Amonasro  saying: 

The  brave  men  devoted  to  us; 
There  the  vows  of  thy  heart 
Shall  be  crowned  with  love. 


Amneris,  coming  from  the  temple,  pauses  behind  a  pillar  and  overhears  the  final  words. 
Mad  with  jealousy,  she  rushes  in  and  denounces  the  guilty  trio.  Aida  and  Amonasro  escape 
but  Rhadames  is  taken  in  custody  as  a  traitor. 

ACT  IV 

SCENE  I  — A  room  in  the  Palace — on  one  side  a  door  leading  to  Rhadames'  prison  cell 

The  curtain  rises,  disclosing 
Amneris  in  an  attitude  of  despair. 
She   is   torn    between   her   love 
for   Rhadames  and   a  desire  for 
vengeance,    and    finally    orders 
the  prisoner  brought  before  her. 
AMNERIS   (bitterly  musing): 
My   rival   has   escaped   me — 
And   Rhadames   awaits   from   the 

priests 

The    punishment    of   a    traitor. 
Traitor     he     is    not,     though    he 

revealed 
The    high    secret    of    war.      He 

wished  to  fly — 
To    fly    with    her — traitors   all! 
To  death,  to  death ! 
Oh,   what  am   I   saying?     I  love 

him — 
Oh!   if  he  could  love  me! 

L would  save  him — but  how? 
t  me  try.     Guards,    Rhadames 

COmeS.  '"'"""  "'"•'•  RHADAMES     DENOUNCED    AS    A    TRAITOR 


VICTOR      BOOK      OF      THE      OPER  A— V  E  R  D  I  '  S       A  I  D  A 


Rhadames  enters,  and  the  first  great  duet  of  the  act  occurs. 

Gia  i  sacerdoti  adunnasi    (The  Priests  Assemble) 

By  Louise  Homer  and  Enrico  Caruso  (In  Italian) 

By  Pietracewska  and  Barrera  (In  Italian) 

Aida  a  me  togliesti  (Aida  Thou  Hast  Taken) 

By  Louise  Homer  and  Enrico  Caruso  (In  Italian)     8905 1 


8905O 
88269 


12-inch,  $4.OO 
12-inch,     3.OO 


12-inch,  $4.OO 


He  scorns  her  proposal,  resol 


thee? 

To   fury   hast   thou   changed 
A  love  that  had  no  equal. 
Revenge   for   my   tears 
Heaven  will  now  consummate! 


Amneris  offers  to  save  his  life  if  he  will  renounce  Aida. 
ing  to  die  rather  than  be  false  to  his  Ethiopian  Princess. 
AMNERIS:  AMNERIS: 

Renounce   her   forever  Who    saves   thee,    O    wretch, 

And  thou  shall  live!  From     the     fate     that     awa 

RHADAMES: 

I   cannot   do  it! 
AMNERIS: 

Wouldst  thou  die,  madman? 
RHADAMES: 

I  am  ready  to  die. 

The  guards  now  appear  and  conduct  Rhadames  to  the  judgment  room.     The  ensuing 
scene  is  a  highly  dramatic  and  impressive  one. 

Ohime!  Morir  mi  sento  (Ah,  me  !  Death  Approaches  !) 

By  Lavin  de  Casas,  Mezzo-Soprano ;   Rizzo    Sant'  Elia, 

Bass ;  and  Chorus  (In  Italian}      882  7O     12-inch,  $3.OO 

Amneris,    seeing  Rhadames  taken  out  by  the   Priests,   repents   her   harshness  and  sinks 
down  desolate  on  a  seat. 

AMNERIS    (falling  on  a  chair,  overcome):  Ah,     let    me     not    behold    those     white     robed 

Ah    me!    Death's    hand    approaches!    who    now  phantoms! 

will   save  him?  (Covers   her  face  with   her  hands.      The   voice 

He   is  now  in  their  power.  of  Ramfis  can  be  heard  within.) 

His  sentence   I   have   sealed — Oh,    how  I   curse    RAMFIS. 

thee, 


Jealousy,   vile  monster,   thou  who   hast  doomed 

him 

To  death,   and  me  to  everlasting  sorrow! 
(Turns  and  sees  Ramfis  and   the  Priests,   who 

cross   the   stage   and   enter   the   subterranean 

hall.) 

WThat   see   I?     Behold   of   death 
The   ministers   fatal,    his   merciless   judges. 


PRIESTS: 

Defend  thyself! 

RAMFIS: 

Rhadames,   Rhadames:   and  thou   wast  absent 
From     the     camp     the     very     day     before     the 
combat! 


PRIESTS: 

Defend   thyself! 

RAMFIS: 

Rhadames,       Rhadames:       and 

thou  "hast  played 
The  part  of  a  traitor  to  King, 
and  to  honor! 

PRIESTS: 

Defend   thyself! 

RAMFIS: 

He   is   silent. 
ALL: 

Traitor  vile; 

RAMFIS: 
Rhadames, 

decided, 
Of    all    traitors    tl 

be   thine — 
'Neath    the    altar     wh 

thou'st   derided 
Thou    a    sepulchre    living   sh 

find. 


we    thy    fate    have 
fate    shall 
God 


AMNERIS: 

Find       a       sepulchre       living! 

Hated   wretches! 
Ever     vengeful,      blood-thirsty 

and    blind! 


VICTOR      BOOK      OF      THE       OPER  A— V  E  R  D  I  '  S       A  I  D  A 


Sacerdoti,    compiste   un   delitto !    (Priests,    a   Crime  You   Have 
Enacted !) 

By  Lavin  de  Casas,  Mezzo-Soprano;   F.  Rizzi,  Bass;  and 

Chorus  (In  Italian)     88323     12-inch,     $3.0O 

The  priests  now  enter  from  the  crypt  and  pass  across  the   hall.     The  wretched  woman 
denounces  them. 


Impious  priesthood,  curses  light  on  ye  all! 
On   your   heads   Heaven's  vengeance   will    fall! 
(Exit  wildly.) 


Priests   of   Heaven,   a 
Tigers  even   in  bloodshed  exulting. 
Earthly  justice  and  Heaven's  you  are  insulting, 
On  the  guiltless  your  sentence  will  fall! 
PRIESTS:      (Departing  slowly.) 
None  can  his  doom  recall ! 

This  is  one  of  the  most  impressive  records  of  the  Aida  series.  The  despair  of  the 
wretched  jQmneris,  and  the  solemn  reply  of  the  unbending  priests  are  wonderfully  expressed 
by  Verdi. 

SCENE  II — Interior  of  the  Temple  of  Vulcan — below  a  Subterranean  Apartment 
The  work  finishes  in  serenity  and  peace,  and  such  terminations  are  the  most  beautiful.      Above, 
the  temple  full  of  light,  where  the  ceremonies  continue   immutable  in  the  sanctuary  of  the  indifferent 
gods;   below,  two  human  beings  dying  in  each  other's  arms.      Their  song  of  love  and  death  is  among 
the  most  beautiful  of  all  music.  " — Camille  Bellaigue. 

When  we  hear  the  expression  "the  duet  from  Aida,"  our  thoughts  always  instinctively 
turn  to  this  number  at  the  close  of  the  work.  There  are  other  duets  in  the  opera,  some  of 
them  fine  numbers,  but  this  is  the  great  one — perhaps  the  most  intensely  dramatic  and 
melodiously  beautiful  of  all  Verdi's  writings. 

La  fatal  pietra  (The  Fatal  Stone) 

By  Johanna  Gadski,  Soprano,  and  Enrico  Caruso,  Tenor 

(In  Italian)      89O28      12-inch,  $4.0O 
By  Nicola  Zerola,  Tenor     (Part  of  scene—"  To  die,  so 

pure  and  lovely !")  (In  Italian)      74225     12-inch,     1.5O 

This  last  scene  is  a  highly  picturesque  one.  Above  we  see  the  splendid  Temple  of 
Ptah,  where  priests  and  priestesses  are  chanting  their  strange  songs.  Below,  a  dark  vault, 
in  whose  depths  Rhadames  is  awaiting  with  patience  a  slow  death  by  starvation. 

RHADAMES  (despairingly) : 

The  fatal  stone  upon  me  now  is  closing! 

Now  has  the  tomb  engulf 'd  me! 

The  light  of  day  no  more  shall  I  see! 

No  more  behold  Aida! 

Aida,  where  art  thou  now? 

Whate'er  befall  me,  may'st  thou  be  happy! 

Ne'er  may  my  frightful  doom  be  told  to  thine 
ear! 

(Then  suddenly  in  the  shadows  he  sees  a 
form — it  is  Aida,  who  has  secreted  herself  in 
the  crypt  that  she  may  die  with  her  lover.) 

What  moan   was  that? 

Is't  a  phantom,  or  vision  dread? 

No!   'tis  a   human  being! 

Heaven!  Aida! 
AIDA:    Yes! 
RHADAMES   (in  great  desperation): 

Thou,  with  me  here  buried! 

My  heart  foreboded  this,  thy  dreadful  sen- 
tence. 

And  to  this  tomb  that  shuts  on  thee  its  portal, 

I  crept,  unseen  by  mortal. 

Here,  free  from  all, 

Where  none  can  more  behold  us, 
Clasp'd  in  thy  arms,  love, 
I  resolved  to  perish! 
RHADAMES:  To  die!   so  pure  and  lovely! 

To  die!  thyself  thus  dooming, 

In  all  thy  beauty  blooming, 

Fade  thus  forever! 

Thou,   whom   the   gods  alone   for   love   created; 

Yet   to   destroy   thee,   was   my   love   then   fated! 

Thou   shall  not  die!   so  much  I  love  thee, 

Thou  art  too   lovely! 

25 


I    AS    RHADAMES 


VICTOR      BOOK      OF      THE       OPER  A— V  E  R  D  I  '  S       A  I  D  A 

AIDA    (transported)  :  I  see  heaven's  gates  are  open  wide 

See'st  thou  where  death,  in  angel  guise,  Where  tears  are  never  streaming, 

With  heavenly  radiance  beaming,  Where  only  bliss  and  joy  reside. 

Would  waft  us  to  eternal  joys,  The    bliss    and    joy    of    never    fading,    endless 

On   golden   wings  above!  love! 

The  lovers  sing  their  plaintive   farewell  to  earth  in  hauntingly  lovely  strains,  while  in 
strange  contrast  the  heathen  chanting  continues  above. 

O  terra  addio  (Farewell,  Oh,  Earth) 

By  Johanna  Gadski,  Soprano,  and  Enrico  Caruso,  Tenor 

(In  Italian)      89O29      12-inch,  $4.00 

AIDA  AND   RHADAMES: 

Farewell,    O    earth,  See,  brightly  opens  for  us, 

Farewell,   thou  dark  vale  of  sorrow,  Brightly   opens  now  the   sky,   and  endless  mor- 

Brief  dream  of  joy,  row, 

Condemned  to  end  in  woe!  There,    all    unshadow'd,    shall    eternal    glow! 

(Curtain) 


DOUBLE-FACED  AND  MISCELLANEOUS  AIDA  RECORDS 

Chi  mai  fra   (His  Glory  Now  Praise)     By  Maria  1 

Cappiello,  Mezzo-Soprano,  and  Chorus     (In  Italian) 

O  tu  che  sei  d'Osiride   (Oh,  Thou  Who  Art  Osiris)  \55OO5      12-inch,  $1.5O 

By  Maria  Cappiello,  Mezzo-Soprano,  and  Chorus 

(In  Italian)  J 

/Celeste  Aida   (Heavenly  Aida)      Trombone      By  Arthur  Pry  or  I- ,._.,_  .      ,  , 

ill  Guarany  Overture  By  Pryor's  Band(35O3°     12-mch-     l-25 

[The  Fatal  Stone     Cornet- Trombone  } 

By  Arthur  Pryor.Emil  Keneke  and  Pryor's  Band  p5  ISO     12-inch,     1.25 
[     Serenade     ( Till)      'Cello-Flute       By  Louis  Heine  and  Darius  Lyons]    ' 

/Aida  Fantasia  By  Police  Band  of  Mexicol  „,„,_.     10    .      ,        .  _, 

\      Cascades  of  Roses  Wallz  By  Police  Band  of  Mexico}*™4  *      1 2-mch'      1  "2 5 

/Aida  Selection  By  Pryor's  Bandl,,.  Q,      10.      , 

t     Attila—  Grand  Trio  By  Kryl's  Bohemian  Bandf35195      12~mch-      l-25 

Aida  Selection    (Finale.  Act  II)  By  Pryor's  Orchestra  31359      12-inch,     l.OO 

fAida— Grand  March  Vessella's  Italian  Band\,<o 

\     Rondo  Capriccioso     (Mendelssohn)  Vessella's  Italian  Band] '352b5       12-mch,      1.25 

(Marcha  Triunfal   (Triumphal  March )  1 

By  Garde  Republicaine  Band  I  ,  _  .  no     in   .      , 
Tosca—  Tosca  divina !      (In  Italian)  624O9      lO-mch,         .75 

By  Gustavo  Berl-Resky,  Baritone] 


(Italian) 

ANDREA  CHENIER 

(Ahn-Jree'-ah  Sheh  may) 

OPERA  IN  FOUR  ACTS 

Libretto  by  Luigi  Illica  ;  music  by  Umberto  Giordano.  First  produced  at  La  Scala, 
Milan,  March  28,  1896.  First  performance  in  Berlin  in  1898;  in  London,  April  2,  1903,  by 
the  Carl  Rosa  Company,  in  English.  Given  in  Italian  some  years  afterward,  with  Starkosch, 
de  Cisneros,  Zenatello  and  Sammarco.  First  American  production  at  the  Academy  of 
Music,  November  13,  1896,  with  Durot,  Ughetto  and  Bonaplata-Bau.  Revived  in  1908  by 
Oscar  Hammerstein's  Manhattan  Opera  Company,  the  cast  including  Mme.  Eva  Campanini, 
Bassi,  Sammarco,  Zeppili  and  de  Cisneros. 


Characters 

ANDREA  CHENIER Tenor 

CHARLES  GERARD Baritone 

COUNTESS  DE  COIGNY Soprano 

MADELEINE,    her   daughter Soprano 

BERSI,  her  maid Mezzo-Soprano 


ROUGHER 

MATHIEU 

MADELON 

FLEVILLE 

THE  ABBE 

SCHMIDT,  jailer  at  St.  Lazare. 

A  SPY... 


Bass 

.  Baritone 
. Soprano 
.  .  .Tenor 
.  .  .Tenor 
..  .Bass 


Ladies,  Gentlemen,  Servants,  Pages,  Peasants,  Republican  Soldiers,  Masqueraders, 
Judges,  Jurymen,  Prisoners,  etc. 


Time  and  Place  :     Paris  ;   during  the  French  Revolution. 


The  story  tells  of  Andrea  Chenier,  a  patriot,  poet  and  dreamer,  who  was  born  in  Con- 
stantinople, coming  to  Paris  for  his  education.  The  French  Revolution  was  in  full  swing, 
and  being  a  worshipper  of  liberty  and  a  hater  of  monarchs,  he  took  vigorous  sides,  and  was 
arrested,  imprisoned  and  finally  guillotined  on  July  25,  1794.  Illica's  plot,  however,  is  almost 
wholly  pure  fiction. 

ACT  I 
SCENE— Hall  in  the  Castle  of  Coigny 

As  the  curtain  rises  the  servants  of  the  castle  are  preparing  for  a  ball,  and  among  them 
is  Gerard,  afterward  to  become  the  leader  of  the  Revolution.  As  his  old  father  enters,  bent 
under  the  weight  of  a  load  of  furniture,  the  young  man  wistfully  sings  the  Son  sessant' 


Son  sessant'  anni  (My  Aged  Father) 

By  Ernesto  Badini,  Baritone  (In  Italian)     45O12     lO-inch.     $1.OO 

The  guests  arrive,  including  Andrea  Chenier,  the  young  poet,  and  during  the   festivities 
Madeleine  coquettishly  asks  Chenier  to  improvise  upon  the  theme  of  love. 

27 


VICTOR    BOOK    OF    THE     OPERA  — ANDREA    CHENIER 

Improvviso — Un  di  all'  azzurro  spazio     (Once  O'er  the  Azure 
Fields) 

By  Enrico  Caruso,  Tenor  (In  Italian)      88O6O     12-inch,     $3.0O 

By  Nicola  Zerola,  Tenor  (In  Italian)     74216     12-inch,       1.5O 

In  this  air  Chenier  sharply  criticises  the  aristocracy,  and   speaks  of  the  pride  of  the  rich 

and  its  effect  upon  the  poor.      The  guests  are  displeased  at  his  lack  of  taste,  and  later,  when 

Gerard  appears  with  a  crowd  of  ragged   men  and  women,   Chenier  supports  him  and   goes 

with  the  party  when  it  is  ordered  from  the  castle. 

ACT  II 
SCENE— A  Cafe  on  the  Seine,  Paris.      Five  years  later 

Bersi  and  a  spy  are  dining  at  one  of  the  tables,  while  at  another  table  nearby  is  Andrea. 
Roucher  enters  and  tells  the  young  man  that  he  is  in  danger  and  is  being  watched,  giving 
him  a  pass  which  will  enable  him  to  escape  in  case  of  necessity.  Andrea,  however,  tells 
Roucher  that  he  has  a  rendezvous  that  evening  with  an  unknown  lady,  and  the  latter  begs 
him  not  to  go.  Bersi  goes  into  the  cafe  with  the  spy,  but  presently  returning,  mingles  with 
the  crowd  and  speaks  to  Chenier,  begging  him  to  await  a  lady  whom  she  calls  Speranza. 

As  darkness  falls  Madeleine  appears  and  is  recognized  by  both  Chenier  and  the  spy,  who 
is  concealed  and  watching  from  a  distance.  He  hurries  away  to  report  to  Gerard,  and  the 
young  girl  begs  Chenier  to  save  her  from  Gerard.  They  avow  their  love  and  are  about  to 
fly  together  when  Gerard  intercepts  them  and  tries  to  drag  Madeleine  away,  but  Roucher 
interferes  and  escorts  the  girl  to  her  home,  while  Chenier  and  Gerard  draw  their  swords. 
Gerard  is  wounded,  and  warns  Chenier  that  he  is  proscribed  and  begs  him  to  save  Madeleine. 
Chenier  flees  and  the  mob  surrounds  the  wounded  Gerard,  while  he  declares  his  assailant  is 
unknown  to  him. 

ACT  III 

SCENE— At  the  Tribunal 

At  a  meeting  of  the  people  at  which  Gerard  is  spokesman,  a  spy  enters  and  tells  him 
that  Chenier  has  been  arrested  and  that  Madeleine  is  not  far  away.  The  spy  urges  him  to 
denounce  Chenier,  and  after  much  hesitation  he  consents  to  draw  up  the  necessary  papers. 
He  signs  them  and  hands  them  to  the  spy,  when  Madeleine  appears  and  offers  herself  in 
exchange  for  Andrea's  life.  Gerard  is  touched  by  the  young  girl's  grief  and  promises  to  do 
what  he  can. 

Andrea  is  brought  before  the  judges  and  jury  and  denounced  as  a  traitor,  whereupon 
he  speaks  with  deep  feeling  and  defends  himself  with  brilliancy. 

Si  fui  soldato  (I  Was  a  Soldier) 

By  Egidio  Cunego,  Tenor  (In  Italian)     45O12      lO-inch,     $1.0O 

Gerard,  regretting  that  he  has  signed  the  papers  which  condemned  Andrea,  rushes 
forward  and  testifies  for  him,  but  the  people  demand  more  victims,  insisting  upon  the  death 
sentence,  and  the  prisoner  is  led  away. 

ACT  IV 
SCENE—  The  Prison  of  St.  Lazare 

Andrea  is  in  his  cell,  writing  verses  by  the  light  of  a  lamp.  Madeleine  succeeds  in 
getting  into  the  prison  by  impersonating  a  recently  pardoned  prisoner,  and  by  bribing  his 
jailer.  Gerard  conducts  her  to  Andrea  and  then  goes  for  a  last  appeal  to  Robespierre.  The 
lovers  cling  to  each  other  in  a  last  embrace,  and  at  dawn,  when  the  death  wagon  comes 
for  Andrea,  Madeleine  goes  to  the  guillotine  to  die  with  him. 

DOUBLE-FACED  ANDREA  CHENIER  RECORDS 

[Son  sessant'  anni  (My  Aged  Father)     By  Ernesto  Badini, 
Baritone  (In  Italian) 


Si  fui  soldato  (I  'Was  a  Soldier)     By  Egidio  Cunego,  Tenor 

(In  Italian) 


45O12      lO-inch,     $1.OO 


(Italian) 

IL  BARBIERE  DE  SIVIGLIA 

(Eel  Bahr-beay' -reh  dee  See-veef -yah) 

BARBER  OF  SEVILLE 

COMIC  OPERA  IN  TWO  ACTS 

Text  by  Sterbini,  a  Roman  poet,  founded  on  the  celebrated  trilogy  of  Beaumarchais. 
Music  by  Rossini.  First  presented  at  the  Argentina  Theatre  in  Rome,  February  5,  1816. 
First  London  production  March  10,  1818.  First  New  York  production  November  29,  1825. 
The  opera  was  at  first  called  "Almaviva,  or  the  Useless  Precaution,"  to  distinguish  it  from 
Paisiello's  "  Barber  of  Seville."  

Cast 

COUNT  ALMAVIVA   (Al-mah-oee'-oah) Tenor 

BARTOLO,  (Bahr  -to-low)  physician Bass 

ROS1NA,  his  ward Soprano 

BASILIC,  (Bah-zeel-yoh)  music  master Bass 

MARCELLINE   (Mar-chel-lee  -neh) Soprano 

FIGARO  (Fee  -gah-mw)    Baritone 

FlORELLO,  servant  to  the  Count Tenor 

A  Notary,  Chorus  of  Musicians,  Chorus  of  Soldiers 

Scene  and  Period :     Seville,  the  seventeenth  century. 

Rossini's  opera  is  a  marvel  of  rapid  composition,  having  been  composed  in  about  fifteen 
days!  This  seems  almost  incredible,  but  the  fact  is  well  authenticated.  The  composer  had 
agreed  to  write  two  operas  for  the  Roman  carnival  of  1816,  the  first  of  which  was  produced 
December  26,  1815,  and  on  that  day  he  was  told  that  the  second  would  be  required  on  Jan- 
uary 20,  1816.  He  agreed  to  have  it  completed,  although  he  did  not  even  know  what  the 
subject  was !  The  libretto  was  given  to  him  by  Sterbini  in  sections,  and  he  wrote  the  music 
as  fast  as  the  verses  were  furnished.  While  the  opera  did  not  achieve  an  instantaneous  suc- 
cess, it  gradually  found  favor  with  opera-lovers  on  account  of  its  brightness  and  the  manner 
in  which  the  humor  of  its  action  is  reflected  in  the  music. 

The  plot  of  Barber  of  Seville  is  very  simple.  The  Count  Almaviva  loves  Rosina,  the  ward 
of  Dr.  Bartolo,  a  crusty  old  bachelor  who  secretly  wishes  to  wed  her  himself.  Almaviva  per- 
suades the  village  barber,  Figaro,  to  arrange  a  meeting  for  him,  and  gains  entrance  to  the 
house  disguised  as  a  dragoon,  but  is  arrested  by  the  guardian. 

Not  discouraged,  he  re- 
turns, pretending  to  be  a  sub- 
stitute for  Rosina' s  music 
teacher,  who,  he  says,  is  ill. 
The  appearance  of  the  real 
Don  Basilio  spoils  the  plan,  and 
the  Count  retreats  for  the 
second  time,  having,  however, 
arranged  a  plan  for  elopement. 

Bartolo  finally  arouses 
Rosina's  jealousy  by  pretend- 
ing that  the  Count  loves 
another,  and  she  promises  to 
forget  him  and  marry  her 
guardian.  When  the  time  for 
the  elopement  arrives  she 
meets  the  Count,  intending  to 
reproach  him,  but  he  con- 
vinces her  of  the  base  plot  SETTING  OF  ACT  i,  SCENE  i,  AT  LA  SCALA 
of  Bartolo,  and  the  lovers  are  wedded  by  a  notary,  just  as  Bartolo  arrives  with  officers  to 
arrest  the  Count. 


VICTOR    BOOK    OF    THE    OPERA^BARBER    OF    SEVILLE 


Overture  to  Barber  of  Seville 

By  La  Scala  Orchestra 


68O1O      12-inch,  $1.25 


ACT 


SCENE  1—  A  Street  in  Seville.      Day  is  Breaking 

The  Count,  accompanied  by  his  servant  Fiorello  and  several  musicians,  enters  to  serenade 
the  beautiful  Rosina.  Accompanied  by  the  mandolins,  he  sings  his  serenade,  Ecco  ridente, 
considered  one  of  the  most  beautiful  numbers  in  the  opera. 


Ecco  ridente  (Dawn,  With  Her  Rosy  Mantle) 

By  Fernando  de  Lucia,  Tenor   (Piano  ace.)        (In  Italian)      760OO      12-inch,  $2.00 


COUNT: 

Lo!    smiling    in    the    Orient    sky, 
Morn  in  her  beauty  breaking, 
Canst  thou,  my  love,  inactive  lie 
My  life,  art  thou  not  waking? 
Arise,  my  heart's  own  treasure, 
All  that  "my  soul  holds  dear; 
Oh!   turn  my  grief  to  pleasure! 
Awake,   my  love,  appear! 

Even  such  a  lovely  serenade 


But,    hush!  —  methinks   I   view   that   face, 
And  all  my  doubts  are  vanished; 
Thine  eyes  diffuse  soft  pity's  grace. 
And  all   my  fears  are  banished. 
Oh,    rapturous  moment   of   delight! 
All   other  blisses  shaming; 
My   soul's   content,   so   pure  and  bright, 
On  earth  no  equal  claiming! 


this  fails  to  bring  a  response  from  the  window,  but  the 

Count  still  lingers,  concealing  himself  in  the  shadow  as  he  sees  Figaro,  the  jack-of-all-trades 
of  the  village  and  general  factotum  in  the  house  of  Bartolo.  Figaro  unslings  his  guitar  and 
sings  that  gayest  and  most  difficult  of  all  airs,  the  joy  or  despair  of  baritones  the  world  over, 
which  has  been  recorded  for  the  Victor  by  three  famous  baritones. 


Largo  al  factotum  (Room  for  the  Factotum) 

By  Pasquale  Amato,  Baritone 

(In  Italian)      88329      12-inch,  $3.OO 
By  Emilio  de  Gogorza,  Baritone 

(In  Italian)     88181      12-inch,     3.0O 
By  Titta  Ruffo,  Baritone 

(In  Italian)   88391      12-inch,     3.OO 

Figaro  is  thoroughly  satisfied  with  himself,  and  gives  a 
long  list  of  his  numerous  accomplishments,  of  which  the 
following  is  a  sample : 

FIGARO:     Room  for  the  city's  factotum  here, 
La,  la,  la,  la,  la,  la. 
I    must    be    off    to    my    shop,    for    the    dawn    is 

La,  la,' la,  la,  la.  la. 

What  a  merry  life,  what  pleasure  gay, 

Awaits  a  barber  of  quality. 


La,   la,   la,   la,  la,   la,   etc. 


Oh      what   a    happy   life,      soliloquizes    the    gay    barber,    "what    pleasure 
awaits    a    barber    of    quality !—  Oh.    bravo.    Figaro,    bravo,    bravissimo:    thou 
ure  me  Happiest   ot   men,    ready  at  all   hours  of  the   night,   and,   by   day 
perpetually    in   Bustle    and    motion.      What    happier    region    of    delight;    what 
?u°blerj,lf.e.for  a  barher  tta.n  mJ"e;.   R«°rs,   combs,   lancets.   s<-iss«,r*-behold 


,  s,     ances,   scssors—  behold 

icm  an  my  command,  besides  the  snug  perquisites  of  the  business,  with 
gay  damsels  and  cavaliers.  All  call  me!  all  want  me  !—  dames  and  maidens- 
old  and  younsr.  My  peruke!  cries  one—  my  beard!  shouts  another—  bleed 
me.  cries  this—  this  billetdoux!  whispers  that. 
hat  a  crowd.  Fiaro.  Figaro! 


—    ee 
Figaro,    Figaro!    heavens, 


my  reputation.      So 

marry;    to    me    the    little    widows    ha 

excuse  of  my  comb  by  day,  and  under  favor  of 

to  please  all  in  an  honest  way.      Oh,  \vhn 


:    without   Figaro   there's   not   a   girl   in   Seville   will 
recourse    for    a    husband:    I,    under 
ight,  endeavor 


or  of  my  guitar  by  ni 
t  a  life,  what  a  life'" 


VICTOR     BOOK     OF    THE     OPERA  — BARBER    OF     SEVILLE 


>JT    AND    BARTOLO 


Three  fine  records  of  this  great  air  are  given 
here.  Ruffo,  in  his  rendition,  proves  himself  pos- 
sessed of  an  admirable  sense  of  humor,  and  this, 
with  his  powerful  and  flexible  voice,  enables  him 
to  attack  this  difficult  solo  in  the  true  op6ra- 
bouffe  vein.  The  result  is  as  fine  a  performance 
of  the  Largo  as  one  would  wish  to  hear.  The  ex- 
treme difficulties  are  made  a  vehicle  for  the  display 
of  the  baritone's  ample  vocal  resources,  which 
sweep  everything  before  them  ;  he  is  indeed  a 
little  free  with  the  text,  and  sings  snatches  of  the 
accompaniment  out  of  sheer  bravado,  while  bits 
of  comic  characterization  peep  out  at  every  avail- 
able opportunity.  Amato's  rendition  is  a  fine  ex- 
ample of  how  the  music  of  this  air  should  be 
sung,  and  is  a  veritable  triumph  for  the  singer. 

Signor  de  Gogorza's  version  differs  from  the 
others  in  many  respects.  It  is  one  of  the  finest 
records  he  has  made  for  the  Victor,  and  exhibits 
his  fine  voice  and  wonderful  execution  to  per- 
fection. 

The  Count  now  accosts  Figaro,  asking  him  to 
arrange  a  meeting  with  Rosina,  telling  him  that 
his  rank  must  not  be  known  and  that  he  has  assumed  the  name  of  Lindor. 

II  mio  nome  ?  (My  Name  ?) 

By  Fernando  de  Lucia,  Tenor  (Piano  ace.)  (In  Italian)  66OOO  10-inch,  $1.50 
Figaro  consents  to  become  his  ally.  Rosina  and  her  guardian  come  to  the  balcony,  and 
Rosina,  perceiving  the  Count,  manages  to  drop  a  note,  which  he  secures.  Bartolo  leaves  the 
house  and  orders  that  no  one  be  admitted. 

Figaro  now  says  that  he  is  expecting  a  military  friend  to  arrive  in  the  village,  and 
suggests  the  Count  dress  himself  as  this  soldier  and  thus  gain  admittance  to  the  house.  He 
agrees,  and  retires  to  assume  the  disguise. 

SCENE  II  —  A  Room  in  Bartolo's  House 

Rosina  is  discovered  holding  in  her  hand  a  letter  from  the 
Count.  She  is  agitated  and  expresses  her  feelings  in  her 
celebrated  entrance  song. 

Una  voce  poco  fa    (A  Little  Voice  I  Hear) 

By  Marcella  Sembrich,  Soprano 

(In  Italian)      88O97 
By  Luisa  Tetrazzini,  Soprano 

(In  Italian)      883O1 
By  Maria  Galvany,  Soprano 

(In  Italian)      87O6O 
By  Giuseppina  Huguet,  Soprano 

(In  Italian)   *681  44 

The  number  is  in  the  form  to  which  most  Italian  compos- 
ers of  the  period  adhered  —  a  slow  opening  section  (here 
accompanied  by  occasional  chords  for  the  orchestra)  succeeded 
by  a  quicker  movement  culminating  in  a  coda  which  presents 
many  opportunities  for  brilliant  vocal  display.  Musically  the 
aria  is  full  of  charm,  and  is  deservedly  popular  with  those 
singers  whose  method  enables  them  to  deliver  it  with  the  req- 
uisite lightness  and  bravura. 

ROSINA:     A   little   voice   I    hoard   just 


12-inch,  $3.OO 

12-inch,  3.OO 

10-inch,  2.00 

12-inch,  1.25 


MELBA    AS    ROSING 


Oh,   it  has  thrill'd  my  very  heart! 
I   feel   that   I   am   wounded   sore; 

And    Lindor   'twas   who    huiTd   the    dart. 
Yes,  Lindor,   dearest,   shall  he  mine! 

I've  sworn   it,   and  we'll   never  part. 


My   guardian 
But   I   must 


/ill   re  er  consent; 
mist   snarpen  all   my  wit: 
t   last,    he   will    relent. 
And  we,  oh.  joy!  be  wedded  yet. 
Yes,    Lindor    I    have    sworn    to    love! 
And,  loving,  we'll  our  cares  forget. 


Doubk-FaceJ  Record— For  title  of  opposite  side  see  double-faced  liit  on  page  34. 

31 


VICTOR    BOOK    OF    THE    OPERA-BARBER     OF     SEVILLE 

A  bewildering  array  of  artists  have  essayed  this  charming 
song,  and  Victor  audiences  can  choose  whether  they  will  have  it 
sung  by  an  Italian,  Polish  or  Spanish  prima  donna. 

Rosina  runs  out  as  her  guardian  and  Don  Basilio  come  in. 
Bartolo  is  telling  Basilio  that  he  wishes  to  marry  his  ward,  either 
by  love  or  force.  Basilio  promises  to  help  him,  and  says  that  the 
Count  is  trying  to  make  Rosina  s  acquaintance.  They  decide  to 
invent  some  story  that  will  disgrace  him.  "A  calumny!  says 
Basilio.  Bartolo  asks  what  that  is,  and  Basilio,  in  a  celebrated 
air  gives  his  famous  description,  which  is  a  model  of  its  kind. 

La  calunnia  (Slander's  Whisper) 

By  Marcel  Journet,  Bass 

(In  Italian)      74104     12-inch,     $1.5O 

BASILIO:   Oh!   calumny   is  like  the  sigh 

Of   gentlest   zephyrs   breathing   by; 
How  softly   sweet   along  the   ground, 
Its  first   shrill   voice   is   heard  around. 
Then  passing  on   from   tongue   to   tongue, 
It  gains  new  strength,   it   sweeps  along 
In   giddier  whirl   from  place  to  place, 
And  gains  fresh  vigor  in  its  race; 
Till,   like  the  sounds  of  tempests  deep, 
That  thro'   the   woods  in   murmurs  sweep 
And  howl  amid  their  caverns  drear, 
It  shakes  the  trembling  soul   with  fear. 
Thus   calumny,   a   simple  breath, 
Engenders   ruin,   wreck  and  death; 
And  sinks  the   wretched  man   forlorn, 
Beneath  the  lash  of  slander  torn, 
The   victim   of  the   public  scorn! 
(They  go  cut.) 

Rosina  and  Figaro  return,  and  the  barber  tells  her  that  her  guardian  is  planning  to  marry 
her.  She  laughs  at  the  idea,  and  then  asks  Figaro  who  the  young  man  was  she  observed 
that  morning.  Figaro  tells  her  his  name  is  Line/or,  and  that  he  is  madly  in  love  with  a  certain 
young  lady,  -whose  name  is  Rosina. 


SEMBRICH    AS    ROSINA 


Dunque  io  son  (What !  I  ?) 

By  Maria  Galvany,  Soprano,  and  Titta  Ruffo,  Baritone 

(In  Italian)      925O1      12-inch,  $4-OO 


ROSINA: 

What!     I  ?  or  dost  thou  mock  me? 
Am    I,    then,    the    happy    being? 
(But  I  all  the  scheme  foreseeing, 
Knew   it,   sir,  before   yourself) ; 

FIGARO: 

Yes,  Lindor  loves  you.  ladv; 

Oft  he  sighs   for  his   Rosina, 

(As  a  fox  she  cunning  seems, 

Ah,  by  my  faith,   she  sees  thro'  all)  . 

ROSINA: 

Still   one   word,   sir — to  my   Lindor 
How  shall   I  contrive  to  speak? 

FIGARO: 

Poor  man,  he  but  awaits  some  sign 
Of  your  affection  and  assent; 
A  little  note,  a  sinple  line, 
And   he   himself   will   soon   present. 
To  this,  what  say  you? 

ROSINA: 

I   do   not  know. 

FIGARO: 

Take  courage,  pray  you. 


ROSINA: 

I  could  not  so — 
FIGARO: 

A  few  lines   merely. 
ROSINA: 

I   blush  to  write. 
FIGARO: 

At  what?     Why   really — may   I   indite? 

Haste,  haste,  your  lover  quick  invite. 

(Going  to  the  desk.) 
ROSINA: 

A  letter!      Oh,   here   it  is. 

(Calling  him,  she  takes  a  note  from  her  bosom, 

which  she  gives  him.) 
FIGARO: 

Already    written!      What    a    fool     (astonished) 

Was  I  to  think  to  be  her  master! 

Much  fitter  that  she  me  should  school: 

Her  wits,  than  mine,  can  flow  much  faster. 

Oh,  woman,   woman,   who  can  find, 

Or  fathom,  all  that's  in  thy  mind? 

(Exit  Figaro.) 


Bartolo  comes  in  and  accuses  Rosina  of  dropping  a  note  from  the  balcony,  and  when 
she  denies  it  he  shows  her  ink  marks  on  her  finger  and  calls  attention  to  a  cut  pen  and  a 
missing  sheet  of  paper.  She  says  she  wrapped  up  some  sweetmeats  to  send  to  a  girl  friend, 
and  cut  the  pen  to  design  a  flower  for  her  embroidery.  Bartolo  then  denounces  her  in 
another  famous  air : 


VICTOR    BOOK    OF    THE     OPERA  — BARBER    OF     SEVILLE 


Manca  un  foglio  (Here's  a  Leaf  Missing) 

By  Arcangelo  Rossi,  Bass 

(In  Italian)      *68144      12-inch,  $1.25 


BARTOLO : 

To  a   doctor  of  my  rank, 
These    excuses,    Signorina, 
I  advise  another  time 
That   you   better  should  invent. 
Why    is   the   paper   missing? 
That   I   would   wish  to  know. 
Useless,  ma'am,  are  all  your  air; 
Be   still,   nor   interrupt  me   so. 
Another  time,   sweet   Signorina, 


When  the  doctor  quits  his  house 
He    will    carefully    provide 
For  the  keeping  you  inside. 
And   poor    innocent    Rosina, 
Disappointed  then  may  pout: 
In   her   room   shall    she   be   locked, 
Till   I   choose  to  let  her   out. 
{He  goes  out   in   a   rage,  followed 
by  Rosina,  who  is  laughing.) 


!.  S»LT  LAKE 
IELSEN    AS    ROSINA 


A  loud  knocking  is  heard  at  the  street  door, — it  is  the  Count 
in  his  soldier  disguise.  He  pushes  his  way  in,  and  insists  that  the 
commandant  has  ordered  him  to  put  up  in  Bartolo's  house.  A  long 
scene  follows,  full  of  comedy,  finally  ending  in  the  arrest  of  the 
Count,  who,  however,  privately  informs  the  officer  who  he  is ;  and 
the  astonished  official  salutes  respectfully  and  takes  his  soldiers 
away.  Bartolo  is  in  such  a  rage  that  he  can  hardly  speak,  and  the 
act  ends  with  the  famous  quartet : 

Guarda  Don  Bartolo  (Look  at  Don  Bartolo) 

By  Giuseppina  Huguet,  Soprano;  Antonio  Pini- 
Corsi,  Baritone;  Gaetano  Pini-Corsi,  Tenor; 
Ernesto  Badini,  Baritone  *63171  lO-inch,  $O.75 

ACT  II 

SCENE— A  Room  in  Bariolo's  House 

Bartolo  is  discovered  musing  on  the  affair  of  the  soldier,  and  as  he  has  learned  that  no 
one  in  the  regiment  knows  the  man,  he  suspects  that  he  was  sent  by  the  Count. 

A  knocking  is  heard  and  the  Count  is  ushered  in,  dressed  as  a  music  master.  He 
greets  Bartolo,  beginning  the  duet,  Pace  e  gioia. 

Pace   e  gioia    (Heaven   Send   You 
Peace  and  Joy) 

By  Antonio  Pini-Corsi,  Baritone, 
and  Emilio  Perea,  Tenor 
(In  Italian)         *621O5      lO-inch,  $O.75 

Bartolo  says  he  is  much  obliged  for  these 
kind  wishes  and  wonders  who  this  can  be.  The 
Count  explains  that  Don  Basilio  is  ill  and  he  has 
come  in  the  music  master's  place  to  give  Rosina 
a  lesson.  He  shows  Bartolo  the  note  Rosina  had 
written,  saying  he  found  it  at  the  inn,  and  offers 
to  make  Rosina  believe  the  Count  has  shown  her 
note  to  another  lady.  Bartolo  is  pleased  with  the 
idea  and  calls  Rosina.  Then  occurs  the  cele- 
brated "Lesson  Scene"  in  which  Rosina  usually 
interpolates  an  air.  Rossini  wrote  a  trio  for  this 
scene,  but  in  some  manner  it  was  lost. 

Figaro  now  comes  in  to  shave  Bartolo,  and  in 
the  course  of  the  scene  contrives  to  secure  the 
key  to  the  balcony.  At  this  moment  all  are  pet- 
rified at  the  entrance  of  Don  Basilio,  who  is 
supposed  to  be  confined  to  his  bed.  Figaro  sees 
that  quick  action  is  necessary  and  asks  him  what 
he  means  by  coming  out  with  such  a  fever. 
"  Fever  ?  "  says  the  astonished  music  master.  "A 

*  Double-Faced  Record— For  title  of  opposite  side  see  double-faced  list  on  page  34. 


•aging  fever,"  exclaims  Figaro,  feeling  his 


VICTOR    BOOK    OF    THE    OPERA  — BARBER    OF     SEVILLE 


pulse.  "You  need  medicine,"  says  the  Count,  meaningly,  and  slips  a  fat  purse  in  his  hand. 
Don  Basilio  partially  comprehends  the  situation,  looks  at  the  purse  and  departs. 

The  shaving  is  renewed,  and  Rosina  and  the  Count  pretend  to  continue  the  lesson,  but 
are  really  planning  the  elopement.  Bartolo  tries  to  watch  them,  but  Figaro  manages  to  get 
soap  in  the  Doctor's  eye  at  each  of  his  efforts  to  rise.  He  finally  jumps  up  and  denounces 
the  Count  as  an  impostor.  The  three  conspirators  laugh  at  him,  and  go  out,  followed  by 
Bartolo,  who  is  purple  with  rage.  This  scene  is  amusingly  pictured  in  a  famous  fresco  in  the 
Vienna  Opera. 

Bertha,  the  housekeeper,  enters,  and  in  her  air,  //  vecchietto,  complains  that  she  can  no 
longer  stand  the  turmoil,  quarreling  and  scolding  in  this  house. 

II  vecchietto  cerca  moglie  (The  Old  Fool  Seeks  a  "Wife) 

By  Emma  Zaccaria         (Double-Faced—See  below)      (In  Italian)     621O5      lO-inch,  $0.75 
"What  kind  of  thing  is  this  love  which   drives   everybody  crazy?"  she   asks.      This  air 
used  to  be  called  in  Rome  Aria  di  sorbetto  (sherbet),  because  the   audience  used  to  eat  ices 
•while  it  was  being  sung ! 

Don  Bartolo  now  desperately  plays  his  last  card,  and  shows  Rosina  the  note,  saying  that 
her  lover  is  conspiring  to  give  her  up  to  the  Count  Almaoioa.  Rosina  is  furious  and  offers  to 
marry  Bartolo  at  once,  telling  him  that  he  can  have  Lindor  and  Figaro  arrested  when  they 
arrive  for  the  elopement.  Bartolo  goes  after  the  police,  and  he  is  barely  out  of  sight  when 
Figaro  and  the  Count  enter  by  means  of  the  key  which  the  barber  had  secured.  Rosina 
greets  them  with  a  storm  of  reproaches,  accusing  Lindor  of  pretend- 
ing to  love  her  in  order  to  sacrifice  her  to  the  vile  Count  Almaoioa. 
The  Count  reveals  himself  and  the  lovers  are  soon  clasped  in  a 
fond  embrace,  with  Figaro  in  a  "  Bless  you,  my  children,"  attitude. 
Don  Basilio,  who  had  been  sent  for  a  notary  by  Bartolo,  now 
arrives.  The  Count  demands  that  the  notary  shall  wed  him  to  Rosina. 
Basilio  protests,  but  the  sight  of  a  pistol  in  the  Count's  hand  soon 
silences  him. 

This  scene  is  rudely  interrupted  by  the  arrival  of  Bartolo  and  the 
soldiers.  The  officer  in  charge  demands  the  name  of  the  Count,  who 
now  introduces  Signor  and  Signora  Almaoioa  to  the  company.  Bartolo 
philosophically  decides  to  make  the  best  of  the  matter.  However, 
he  inquires  of  Basilio  : 


BARTOLO  : 

But  you,   you   rascal — 
Even   you   to   betray   me   and 
witness! 


FIGARO : 

Bravo,   bravo,    Doctor! 
Let   me   embrace   you! 


ROSINA: 

Oh,  how  happy  we 


COUNT: 

Oh.    propitious    love! 


COPY'T    MISHKIN 
SAM  MARCO    AS 


BASILIO: 

Ah!   Doctor, 

The  Count  has  certain  persuasives 

And     certain     arguments     in     his 

pocket, 
Which    there    is    no    withstanding!     ,-, 

r  IGARO : 

Young  love,  triumphant  smiling, 
All    harsher,    thoughts   exiling, 
All   quarrels   reconciling, 
Now  waves  his  torch  on  high! 
(Curtain) 


BARTOLO  : 
A 


I  understand 
_,    ..  Jll,   what 
Go;  and  may  Heaven  bless  you! 


Ay,  ay!   I  understand  yc 
Well,   well,   what   matters  it! 


DOUBLE-FACED  BARBER  OF  SEVILLE  RECORDS 
Barber  of  Seville  Selection  By  Pryor's  Band) 

Prophete  Fantasie  By  Prior's  Band}35125 

^Don^Pasauale-Sinfonia      (Donizetti)         ^B^LaSca^chllt^8010 
Manca  un  foglio     (Here's  a  Leaf  Out)  By  A.  Rossi,  Bass\,R1  ,  . 

Una  voce  poco  fa  By  Giuseppina  Huguet,  Soprano/68144 

Guarda  Don  Bartolo     (Look  at  Bartolo)  By  Huguet, 

A.  and  G.  Pini-Corsi,  and  Badini  (In  Italian)   &3171      lO-inch,        .75 

Fra  THaoolo—Agnese  la  Zietella  By  Pietro  Lara     (In  Italian) 

111  vecchietto  cerca  moglie  By  Emma  Zaccaria     (In  Halian) 


12-inch,  $1.25 

"-inch,      1.25 

...     , 
"-men,     1.25 


IPaceegioia 


,^  .  n, 
By  A.  Pini-Corsi  and  Perea     (In  Italian))**2105     lO-inch,       .75 


BARTERED  BRIDE 


PROD  ANA  NEVESTA 


COMIC  OPERA  IN  THREE  ACTS 

Libretto    by    Sabina.      Music  by   Friedrich   Smetana.      First  production,   Prague,    1 866. 
First  London  production,  Drury  Lane,  1895.      First  American  production  February  17,  191  I. 


Characters 


a  peasant 

KATH1NKA,  his  wife 

MARIE,  their  daughter 

MICHA,  a  land  owner 

AGNES,  his   wife 

WENZEL,  their  son 

HANS,  MICHA'S  son  by  first  marriage Tenor 

KEZAL,  a  marriage  broker Bass 


Baritone 

Soprano 

Soprano 

Bass 

Mezzo-Soprano 
.  .  Tenor 


The  Bartered  Bride  was  intended  by  its  composers  to  be  typical  of  Bohemian  life  and 
character — to  be  a  national  opera,  and  so  it  really  is.  The  work  illustrates  accurately  Bohe- 
mian village  life,  and  is  based  on  a  simple  story  full  of  mirth  and  sometimes  almost  farcical. 

Marie,  daughter  of  Kruschina,  a  rich  peasant,  is  betrothed  to  Hans,  her  father's  servant. 
Hans  and  Marie,  however,  are  threatened  with  separation  because  the  maiden's  father  has 
determined  she  shall  marry  Wenzel,  a  half-witted,  stuttering  lad,  who  is  the  son  of 
Kruschina 's  old  friend,  Micha.  Kruschina  and  Kezal  endeavor  to  arrange  this  marriage,  but 
the  girl  flatly  refuses  to  give  up  her  old  lover.  Kezal  finally  offers  Hans  three  hundred 
crowns  if  he  will  renounce  Marie.  At  first  the  offer  is  indignantly  rejected,  but  later  Hans 
consents,  insisting  on  a  rather  strange  condition — that  these  words  be  inserted  in  the 
agreement,  "that  Marie  shall  only  bexmarried  to  a  son  of  Micha.  "  Kezal,  although  he  does 
not  understand  the  reason  for  this,  gladly  agrees,  and  shortly  afterward  the  paper  is  signed, 
the  entire  village  being  called  in  to  witness  the  signature. 

Marie  refuses  to  believe  that  her  lover  has  sold  her  for  three  hundred  crowns,  but  is 
compelled  to  realize  the  truth  when  the  marriage  broker  produces  Hans'  receipt  for  the 
money.  The  young  girl  meets  her  ruthless  lover,  who  seems  remarkably  joyous  over  the 
affair,  and  still  declares  his  love  for  her.  The  mystery  is  not  explained  until  Micha  and  his 
wife  arrive  and  recognize  Hans  to  be  their  long-lost  eldest  son.  So  Hans  not  only  wins  his 
bride,  but  gains  300  crowns,  for  Kezal  has  agreed  that  Marie  "shall  marry  only  a  son  of  Micha.  " 
As  the  money  remains  in  the  family  no  one  objects  save  Kezal,  who  departs  in  wrath. 

The  famous  Overture  to  Bartered  Bride  is  a  work  of  delightful  melody,  and  has  had  number- 
less performances  as  a  concert  number.  It  is  delightfully  spontaneous  and  highly  interesting, 
containing  parts  of  the  national  airs  of  Bohemia. 

{Overture  By  Arthur  Pryor's  Band),,  ,  Aa      10    •     i        *,  -,- 

Madam  Butterfly  Selection     (Puccini)  By  Pryor's  Band}35 

35 


(French) 

LA  BOHEME 


(English) 

THE  BOHEMIANS 


(La  BoTtt-ehm) 


OPERA  IN  FOUR  ACTS 


Text  by  Giacosa  and  Illica ;  music  by  Puccini.  First  produced  at  the  Teatro  Reggio, 
Turin,  February  I,  18%.  In  English,  as  "The  Bohemians,"  at  Manchester  (Carl  Rosa  Com- 
pany), April  22,  1897,  and  at  Covent  Garden  with  the  same  company,  October  2d  of  the  same 
year.  In  Italian  at  Covent  Garden,  July  I,  1899.  First  American  production,  November  28, 
1899. 

Characters 

RUDOLPH,  a  poet Tenor 

MARCEL,  a  painter Baritone 

COLLJNE,  a  philosopher Bass 

SCHAUNARD,  a   musician Baritone 

BENOIT,  an  importunate  landlord Bass 

ALCINDORO,  a  state  councilor  and  follower  of  Musetta Bass 

PARPIGNOL Tenor 

MUSETTA,  a  grisette Soprano 

MIMI,  a  maker  of  embroidery Soprano 

Students,  work-girls,  citizens,  shopkeepers,  street  venders,  soldiers, 
restaurant  waiters,  boys,  girls,  etc. 


Scene  and  Period :     Paris,  about  1830. 

Puccini's  Boheme  is  an  adaptation  of  part  of  Miirger's  La   Vie  Boheme,  which  depicts 
life  in  the  Quartier  Latin,  or  the  Students'  Quarter,  in  1 830.      It  being  impossible  to  weave  a 

complete  story  from  Mtirger's  novel,  the  librettists 
have  merely  taken  four  of  the  principal  scenes  and 
several  of  Miirger's  characters,  and  have  strung  them 
together  without  much  regard  for  continuity. 

>      mj^  The  principal  characters   in   Puccini's  delightful 

S^W    »^k  ^^  opera    are    the    inseparable    quartet    described     by 

J!fc9   {      W      K  Murger,  who  with  equal  cheerfulness  defy  the  pangs 

Stfl^     Cjnfl^        °^  Hunger  an<^  t^le  landlord  of  their  little  garret.     In 
I      the  scenes  of  careless  gaiety  is  interwoven  a  touch 
of  pathos ;  and  the  music  is  in  turn  lively  and  tender, 
with  a  haunting  sweetness  that  is  most  fascinating. 

Rudolph,  a  poet;  Marcel,  a  painter;  Colline,  a 
philosopher;  and  Schaunard,  a  musician,  are  four 
friends  who  occupy  an  attic  in  the  Quartier  Latin, 
where  they  live  and  work  together.  Improvident, 
reckless  and  careless,  these  happy-go-lucky  Bohe- 
mians find  a  joy  in  merely  living,  being  full  of  faith 
in  themselves. 

ACT  I 

SCENE— A    Garret  in  the  Quartier  Latin 
The  opening  scene  shows  the  four  friends  with- 
out  money  or   provisions,   yet    happy.     Marcel  is  at 
work  on  a  painting,  "  Passage  of  the  Red  Sea,"  and 
remarks,    beginning   a    duet   with    Rudolph,    that  the 


THE    FOUR    BOHEMIANS 


passage  of  this  supposedly  torrid  sea  seems  a  very  cold  affair  ! 

Questo  mar  rosso     (This  Red  Sea) 

By  Gennaro  de  Tura,  Tenor,  and  E.  Badini,  Baritone 

(In  Italian) 


88233      12-inch.     $3.OO 


VICTOR    BOOK    OF    THE    OPERA-PUCCINI'S    LA    BOHEME 


Rudolph  says  that  in  order  to  keep  them  from  freez- 
ing he  will  sacrifice  the  bulky  manuscript  of  his  tragedy. 
Marcel  holds  the  landlord  at  bay  until  Schaunard  arrives 
with  an  unexpected  store  of  eatables.  Having  dined 
and  warmed  themselves,  Marcel,  Colline  and  Schaunard 
go  out,  leaving  Rudolph  writing.  A  timid  knock  at  the 
door  reveals  the  presence  of  Mimi,  a  young  girl  who 
lives  on  the  floor  above.  She  has  come  to  ask  her 
neighbor  for  a  light  for  the  candle,  which  has  gone  out. 
They  enter  into  conversation,  and  when  Mimi  artlessly 
asks  Rudolph  what  his  occupation  is,  he  sings  the  lovely 
air  usually  termed  the  "  Narrative." 

Racconto  di  Rodolfo     (Rudolph's  Nar- 
rative) 

By  Enrico  Caruso,  Tenor 

(In  Italian)     88OO2 
By  Herman  Jadlowker,  Tenor 

(In  Italian)      76O23 
By  John  McCormack,  Tenor 

(In  Italian)      74222 
By  Florencio  Constantino,  Tenor 

(In  Italian)      74106 
By  George  Hamlin,  Tenor 

(In  Italian)      74185 
By  E  van  Williams  (Engto/i)  74129 


12-in.,  $3.OO 
12-in.,     2.OO 


12-in., 
12-in., 


1.5O 
1.5O 


12-in.,      1.5O 
12-in.,     1-50 

Caruso  has  never  done  anything  more  perfect  in  its  way  than  his  superb  delivery  of  this 
number.  It  is  one  of  his  great  scenes  in  the  opera,  and  always  arouses  the  audience  to  a 
high  pitch  of  enthusiasm.  He  has  sung  it  here  with  a  fervor  and  splendor  of  voice  which 
holds  one  spellbound.  The  tender  sympathy  of  the  opening—"  Your  little  hand  is  cold  ; 
the  bold  avowal—"  I  am  a  poet  "  ;  the  glorious  beauty  of  the  love  motive  at  the  end  —  all 
are"  given  with  characteristic  richness  and  warmth  of  style  by  this  admired  singer,  while  the 
final  high  note  is  brilliantly  taken. 

Two  entirely   different  interpretations,   though  also  very  fine  ones,  are   given   by   Mr. 
Jadlowker  and  Mr.  McCormack,  while  three  other  versions—  in  Italian  by  Constantino  and 
Hamlin,  and  in  English  by  Evan  Williams  —  complete  a  list  in 
which  every  lover  of  this  beautiful  air  can  find  a  record  to  suit 
his  taste  and  purse. 

Mi  chiamano  Mimi     (My  Name  is  Mimi) 

By  Nellie  Melba,  Soprano  (Italian)  88O74     12-in.,  $3.0O 

By  Geraldine  Farrar,  Soprano  (Ital)  88413     12-in.,     3.00 

By  Alice  Nielsen,  Soprano  (Italian)  74062     12-in.,     1.50 

Then  follows  the  charming  Mi  chiamano  Mimi,  in  which 
the  young  girl  tells  Rudolph  of  her  pitifully  simple  life  ;  of  how 
she  works  all  day  making  artificial  flowers,  which  remind  her  of 
the  blossoms  and  green  meadows  of  the  country  ;  of  the  lonely 
existence  she  leads  in  her  chamber  up  among  the  housetops. 

O    soave    fanciulla—  Duo   and  Finale,  Act  I 
(Thou  Sweetest  Maiden) 

By  Nellie  Melba,  Soprano,  and 

Enrico  Caruso,  Tenor  952OO     12-in.,  $5.0O 

'  '  Mimi  's  delicate  perfection  enchanted  the  young  poet  —  especially 
her  little  hands,  which  in  spite  of  her  menial  Work,  sne  managed  to 
keep  as  white  as  snow.  '  '  —  MUrger's  La  Vie  de  la  Boheme. 

This  lovely  duet  occurs  just  after  the  Mi  chiamano  Mimi. 
The  young  girl  having  finished  her  story,  Rudolph  hears  the 
shouts  of  his  friends  in  the  courtyard  below.  He  opens  the 
window  to  spe/tk  to  them,  letting  in  a  flood  of  moonlight  which  SEMBRICH  AS  MIMI 


VICTOR    BOOK    OF    THE    OPERA  — PUCCINI'S     LA    BOHEME 


FAKKAR   AS    MIMI 


brightens  the  room.  The  Bohemians  go  off  singing.  As 
Rudolph  turns  to  Mint!  and  sees  her  in  the  moonlight,  he  is 
struck  with  her  beauty,  and  tells  her  how  entrancing  she 
appears  to  him. 

Love  awakens  in  the  heart  of  the  lonely  girl,  and  in  this 
beautiful  duet  she  pledges  her  faith  to  the  handsome  stranger 
•who  has  come  into  her  life. 

Mme.  Melba's  singing  in  this  scene  is  of  exquisite  beauty, 
while  Caruso's  delivery  of  the  passionate  phrases  of  Rudolph 
is  superb.  The  beautiful  motive  with  which  the  duet  begins 
is  associated  throughout  the  opera  with  the  presence  of  Mimi, 
and  is  employed  with  touching  effect  in  the  death  scene  in 
Act  III. 

Mimi  consents  to  go  to  the  Cafe  Momus, 
where  his  friends  are  to  dine,  and  after  a 
tender  scene  at  the  door  they  go  out,  and 
the  curtain  slowly  falls. 

ACT  II 

SCENE— A  Students'  Cafe  in  Paris 
This  act  represents  the  terraces  of  the 
Cafe  Momus,  •where  the  artists  are  holding  a 
carnival.  Puccini  has  pictured  with  mas- 
terly skill  the  noisy,  bustling  activity  of  this 
scene,  and  the  boisterous  merriment  of  the 
gay  revelers.  The  Bohemians  of  Act  I  are 
seated  at  a  table  with  Mimi,  •when  Musetta, 

an  old  flame  of  Marcel's,  appears  with  her  latest  conquest,  a  foolish  and 
ancient  beau  named  Aldndoro.  Marcel  pretends  not  to  see  her,  but 
Musetta  is  determined  on  a  reconciliation,  and  soon  gets  rid  of  her  elderly 
admirer  and  joins  her  old  friends. 

The  gem  of  this  gay  scene  is  the  charming  waltz  of  Musetta,  which 
Mme.  Viafora  sings  here  with  spirit  and  delightful  abandon. 

Musetta  'Waltz 

By  Gina  C.  Viafora, Soprano  (Italian)     64085     lO-inch,     $1.0O 
By  Guido  Gialdini     (Whistling)  "16892      lO-inch,         .75 

Mme.  Viafora's  light   soprano   is   heard  to  advantage   in    this   pretty       CLUCK  AS  MIMI 
waltz,  which  she  sings  with  fluency  and  skill. 

The  fun  now  becomes 
fast  and  furious,  and  Musetta  is 
finally  carried  off  on  the  shoul- 
ders of  her  friends,  while  the 
foolish  old  banker,  Aldndoro, 
is  left  to  pay  the  bills  of  the 
entire  party. 

ACT  III 

SCENE— A  City  Gate  of  Paris 
This  act  begins  in  the 
cheerless  dawn  of  a  cold 
morning  at  the  city  gates,  the 
bleakness  of  the  scene  being 
well  expressed  in  Puccini's 
music.  The  snow  falls,  work- 
men come  and  go,  shivering 
and  blowing  on  their  cold 

^^BBBBI^^B^^^BBBBi^^^^MI      fingers.      Mimi    appears,    and 
THE  CAF£  MOMUS — ACT  ii  asks  the  officer  at  the  gate  if 


:  Double-Faced  Record— For  Hilt  of  opposite  side  see  DOUBLE-FACED  LA    BOHEME  RECORDS,  page  42. 


VICTOR    BOOK    OF    THE    OPERA  — PUCCINI'S    LA    BOHEME 


MARTIN     AS    RUDOLPH 


he  will  find  Marcel,  that  good 
and  kind-hearted  Bohemian 
painter,  now  sojourning  at  the 
inn  on  the  Orleans  Road  and 
painting,  not  landscapes,  but 
tavern  signs,  in  order  to  keep 
body  and  soul  together. 
Marcel  enters  and  is  surprised 
to  see  Mimi,  whom  he  sup- 
poses to  be  in  Paris.  Noticing 
that  she  is  melancholy  and 
apparently  ill,  he  kindly  ques- 
tions her  and  learns  her  sad 
story. 


Mimi,  lo  son ! 
(Mimi,  Thou  Here !) 

By  Geraldine  Farrar,  So- 
prano, and  Antonio 
Scotti,  Baritone 

(In  Italian) 
89O16      12-inch,  $4.OO 

E  BARRIKR — ACT  HI  By  Dora  D o m a r ,  So- 

prano, and  Ernesto  Ba- 
dini.  Baritone 
88228      12-inch,     3.OO 

This  duet  is  one  of  the  finest  numbers  in  Puccini's 
opera,  and  Miss  Farrar  and  Mr.  Scotti  have  made  a  strikingly 
effective  record  of  it, 
while  the  other  ren- 
dition by  La  Scala 
artists  is  also  a  very 
fine  one. 

Mimi  tells  her 
friend  that  she  can 
no  longer  bear  the 
jealous  quarrels 
with  Rudolph,  and 
that  they  must  sep- 
arate. Marcel,  much 
troubled,  goes  into 
the  inn  to  summon 
Rudolph,  but  before 
the  latter  comes, 
Mimi  secretes  her- 
self, and  when  he 
enters  she  hears  him 
again  accuse  her  of 
fickleness. 


Mimi  e  una  civetta 

(Coldhearted  Mimi !) 

By  Laura  Mellerio,  Soprano  ;  Gennaro 
de  Tura,  Tenor ;  and  Ernesto  Ba- 
dini.  Baritone 

(In  Italian)     88227      12-inch,  $3.OO 


ND     MARCEL 


VICTOR    BOOK    OF    THE    OPERA— PUCCINI'S    LA    BOHEME 


S    MARCEL 


A  distressing  fit  of  coughing  reveals  her  presence,  and  she  appears 
and  sings  the  sad  little  air  which  is  one  of  the  features  of  this  act. 

Addio     (Farewell) 

By  Nellie  Melba,  Soprano    (In  Italian)    88O72     12-inch,  $3.OO 
By  Geraldine  Farrar,  Soprano 

(In  Italian)    884O6     12-inch,     3.OO 
By  Alma  Gluck,  Soprano     (In  Italian)    64225      10- inch,     l.OO 

Most  pathetically  does  the  poor  girl's  "  Farewell,  may  you  be  happy  " 
come  from  her  simple  heart,  and  she  turns  to  go.  Rudolph  protests,  some- 
thing of  his  old  affection  having  returned  at  the  sight  of  her  pale  cheeks. 

Musetta  now  enters  and  is  accused  by  Marcel  of  flirting.     A  furious 
quarrel  follows,  which  contrasts  strongly  with 
the  tender  passages  between  Mimi  and  Rudolph 
as  the  lovers  are  partially  reconciled. 

Quartet, "Addio,  dolce  svegliare" 
(Farewell,  Sweet  Love) 

By  Geraldine  Farrar, Soprano;  Gina 

C.    Viafora,   Soprano;     Enrico 

Caruso,  Tenor;    and   Antonio 

Scotti,  Baritone 

(In  Italian)   96002     12-inch,  $6.00 
By  Dora  Domar,  Soprano:    Annita 

Santoro,  Soprano;    Gino    Gio- 

vannelli.  Tenor;    and  Ernesto 

Badini,  Baritone 
(In  Italian)  89O48     12-inch,     4.00 

Like  the  Rigoletto  Quartet,  this  number  is  used  by  the  com- 
poser to  express  many  different  emotions:    The  sadness  of  Mimi's 

farewell  to  Rudolph ;    his  tender  efforts  to  induce  her  to  remain ; 

the  fond  recollections  of  the  bright  days  of  their  first  meeting — • 

and  contrasted   to  these  sentiments  is  the  quarreling  of  Musetta 

and    Marcel,   which    Puccini    has    skillfully   interwoven   -with   the 

pathetic  passages  sung  by  the  lovers. 

In  Mimi  Miss  Farrar  has  added  another  role  to  the  long  list 

of   her   successes   in    America,  and    her   impersonation  is  a  most 

charming  one.     She  was  in  superb  voice  and  has  given  this   lovely  music  most  effectively. 

Caruso  sings,  as  he  always 
does,  with  a  beauty  of  voice 
and  a  sincerity  of  emotion 
which  cannot  fail  to  excite 
admiration. 

Mme.  Viafora,  who  is  al- 
ways a  piquant,  gay  and  inter- 
esting Musetta;  and  Signer 
Scotti,  whose  admirable 
Marcel  is  one  of  his  finest 
impersonations,  both  vocally 
and  dramatically,  round  out 
an  ensemble  which  could  not 
be  surpassed. 

Truly  a  brilliantly  sung 
and  perfect  balanced  rendi- 
tion of  one  of  the  greatest 
of  concerted  numbers.  An- 
other version  by  famous  artists 
THE  DEATH  OF  MIMI  of  La  Scala  is  also  offered. 

41 


TRENTINI    AS    MUSETTA 


VICTOR    BOOK    OF    THE    OPERA— PUCCINI'S    LA    BOHEME 


ACT  IV 

SCENE— Same  as  Act  I 

'  'Jll  this  time,  the  friends  for  many  weeks  had  lived  a  lonely  and  melancholy 
existence.  Musetta  had  made  no  sign,  and  Marcel  had  never  met  her,  while  no 
word  of  Mimi  came  to  Rudolph,  though  he  often  repeated  her  name  to  himself. 
Marcel  treasured  a  little  bunch  of  ribbons  which  had  been  left  behind  by  Musetta, 
and  when  one  day  he  detected  Rudolph  gazing  fondly  at  the  pink  bonnet  Mimi 
had  forgotten,  he  muttered :  '  It  seems  I  am  not  the  only  one  !  ' ' ' — Murger. 

Act  IV  shows  the  same  garret  in  which  the  events  of  Act  I  took 
place.  Bereft  of  their  sweethearts,  the  young  men  are  living  sad  and 
lonely  lives,  each  trying  to  conceal  from  the  other  that  he  is  secretly 
pining  for  the  absent  one. 

In  the  opening  scene,  Marcel  stands  in  front  of  his  easel  pretending 
to  paint,  while  Rudolph,  apparently  writing,  is  really  furtively  gazing  at 
Mimi's  little  pink  bonnet. 

Ah  Mimi,  tu  piu     (Ah,  Mimi,  False  One !) 

By  Enrico  Caruso,  Tenor,  and  Antonio  Scotti,  Baritone 

(In  Italian)     89O06      12-inch,  $4.OO 

By  McCormack  and  Sammarco  (Italian)     89044     12-inch,     4-00 
By  Da  Gradi  and  Badini         (In  Italian)  *45O13     lO-inch,     1.00 
Three  records  of  this  favorite  duet  are  offered — by  Caruso  and  Scotti, 
McCormack  and  Sammarco — and  a  popular  priced  version. 

The  friends,  however,  pretend  to  brighten  up  when  Schaunard  and 
Colline  enter  with  materials  for  supper,  and  the  four  Bohemians  make 
merry  over  their  frugal  fare.  This  scene  of  jollity  is  interrupted  by  the  unexpected  entrance 
of  Musetta,  who  tells  the  friends  that  Mimi,  abandoned  by  her  viscount,  has  come  back  to  die. 
The  poor  girl  is  brought  in  and  laid  on  Rudolph 's  bed,  while  he  is  distracted  with  grief. 
The  friends  hasten  to  aid  her,  Marcel  going  for  a  doctor,  while  Colline,  in  order  to  get  money 
to  buy  delicacies  for  the  sick  girl,  decides  to  pawn  his  only  good  garment,  an  overcoat.  He 
bids  farewell  to  the  coat  in  a  pathetic  song,  which  Journet  delivers  here  with  much  feeling. 

Vecchia  zimarra     (Coat  Song) 

By  Marcel  Journet,  Bass  (In  Italian)     64O35     lO-inch,  $1.OO 

Colline  goes  softly  out,  leaving  Mimi  and  Rudolph  alone,  and  they  sing  a  beautiful  duet. 

Sono  andati  ?    (Are  We  Alone  ?) 

By  Maria  Bronzoni,  Soprano,  and  Franco  de  Gregorio,  Tenor 

(In  Italian)     *45O13     10-inch.  $1.0O 

The  past  is  all  forgotten  and  the  reunited  lovers  plan  for  a  future  which  shall  be  free 
from  jealousies  and  quarrels.  Just  as  Mimi,  in  dreamy  tones,  recalls  their  first  meeting  in 
the  garret,  she  is  seized  with  a  sudden  faintness  which  alarms  Rudolph,  and  he  summons 
his  friends,  who  are  returning  with  delicacies  for  Mimi.  But  the  young  girl,  weakened  by 
disease  and  privations,  passes  away  in  the  midst  of  her  weeping  friends,  and  the  curtain 
falls  to  Rudolph's  despairing  cry  of  "Mimi!  Mimi!" 


35132      12-inch,  $1.25 


By  Pryor's  Band\ .,,.___      10    .      , 
By  Pryor's  Bandf35077      12-lnch- 


DOUBLE-FACED  AND  MISCELLANEOUS  BOHEME  RECORDS 

fBoheme  Fantasie     ( 'Cello)  By  Victor  Sorlinl 

\     Calm  Sea  and  Happy  Voyage — Overture  By  Pryor's  Band 

fBoheme  Selection 
\    Jolly  Robbers  Overture     (Suppe") 

Ah,  Mimi,  tu  piu      (Ah,  Mimi,  False  One !) 

By  Da  Gradi  and  Badini     (In  Italian)  U5O13      lO-inch,     l.OO 

Sono  andati?  By  Bronzoni  and  de  Gregorio     (In  Italian)  I 

/Musetta  Waltz     (Whistling  Solo)  Guido  Gialdinil  .     , 

\     Carmen  Selection     (Xylophone)  Wm.  H.  Reitzf1*392      ]  °-mch'       -75 

*  Double-FaceJ  Record— For  title  of  opposite  side  see  above  list. 

42 


THE   ABDUCTION   OF   ARLINE— ACT 

THE  BOHEMIAN  GIRL 

OPERA  IN  THREE  ACTS 

Text  by  Bunn;  music  by  Balfe.  First  produced  at  Drury  Lane  Theatre,  London, 
November  27,  1843.  First  American  production  November  25,  1844,  with  Frazer,  Seguin, 
Pearson  and  Andrews.  Bunn  took  his  plot  from  a  ballet  written  for  Ellsler,  the  dancer,  by 
St.  Georges,  but  transferred  the  scene  from  Scotland  to  Hungary.  The  work  was  immedi- 
ately successful  in  England,  and  was  eventually  translated  into  almost  every  language  of 
Europe,  and  during  the  next  twenty  years  was  produced  in  Italy  as  La  Zingara ;  in  Hamburg 
as  La  Gitana ;  in  Vienna  as  Die  Zigeunerin ;  and  in  Paris,  with  additional  numbers,  as  La 
Bohe'mienne. 


Characters 

ARLINE,  daughter  of  Count  Arnheim 

THADDEUS,  a  Polish  exile 

GYPSY  QUEEN 

DEVILSHOOF,  Gypsy  leader 

COUNT  ARNHEIM,  Governor  of  Presburg 

FLORESTINE,  nephew  of  the  Count 

Retainers,  Hunters,  Soldiers,  Gypsies,  etc. 


.  .Soprano 
.  .  .  .Tenor 
.  .  Contralto 

Bass 

.  .  Baritone 
.  .Tenor 


Time  and  Place  :  Presburg,  Hungary  ;   nineteenth  century. 


The  story  of  this  opera  is  quite  familiar,  and  can  be  dismissed  with  a  brief  mention. 
Thaddeus,  an  exile  from  Poland,  is  fleeing  from  Austrian  troops,  and  to  facilitate  his  escape 
he  casts  his  lot  with  a  band  of  gypsies,  headed  by  Deoilshoof.  As  the  tribe  is  crossing  the 
estate  of  the  Governor  of  Presburg,  Count  Arnheim,  Thaddeus  is  enabled  to  rescue  the  little 
daughter  of  the  Count  from  a  wild  stag,  and  in  his  gratitude  the  Count  invites  the  gypsies  to 
the  hunting  dinner.  In  the  course  of  the  festivities  Thaddeus  refuses  to  drink  the  health  of 
the  Emperor,  and  is  about  to  be  arrested  when  Deoilshoof  interferes  and  is  himself  confined 
in  the  Castle,  while  Thaddeus  is  permitted  to  go.  Deoilshoof  climbs  from  a  window  and 

43 


VICTOR     BOOK     OF     THE     OPERA— THE     BOHEMIAN     GIRL 


steals  the  little    Arline,    making  his   escape   good  by  chopping  down   the  bridge  across  the 
ravine  as  the  soldiers  pursue  him. 

Twelve  years  elapse  and 
we  see  the  camp  of  the  gypsies, 
among  whom  Arline  has  grown 
to  be  a  beautiful  girl  of  seven- 
teen. Thaddeus,  who  has  fallen 
in  love  with  the  young  girl, 
now  tells  her  of  his  love,  and 
in  a  beautiful  duet  the  lovers 
plight  their  troth.  The  Gypsy 
Queen,  herself  enamored  of 
Thaddeus,  is  forced  to  unite 
him  to  Arline,  but  secretly 
plans  vengeance.  Her  oppor- 
tunity soon  comes,  as  she  con- 
trives to  have  Arline  accused  of 
stealing  a  medallion  from  the 
young  nephew  of  Count  Arn- 
heim,  who  has  come  to  the  fair 
at  Presburg,  near  where  the 
gypsies  are  camped.  Arline  is 
arrested  and  taken  before  the 
Count,  who  in  the  course  of  the 
examination  recognizes  her  as 
his  daughter,  from  the  scar 
made  by  the  stag  in  her  child- 
hood. 

The  third  act  shows  Arline 
restored  to  her  position,  but  still  secretly  pining  for  her  gypsy  lover.  Decilshoof  contrives  to 
get  Thaddeus  into  the  castle  and  he  secures  an  interview  with  Arline.  They  are  interrupted, 
however,  by  the  Count 's  approach,  and  Thaddeus  hides  in  a  closet  as  the  guests  arrive  for  a 
reception  in  honor  of  the  newly-found  heiress. 


THE   VENGEANCE   OF   THE   QUEEN ACT    II 


The  Queen,  still  bent  on  revenge,  now  enters,  and  in  a  dramatic  denunciation  reveals 
the  hiding  place  of  Thaddeus.  The  Count  asks  for  an  explanation,  and  Arline  declares  she 
loves  Thaddeus  even  more  than  her  father.  The  Count,  enraged,  is  about  to  attack  Thaddeus, 
when  the  young  man  reveals  his  history  and  proves  himself  to  be  of  noble  blood.  The 
Count  then  gives  his  consent  and  all  ends  happily. 

44 


VICTOR     BOOK     OF     THE     OPERA— THE     BOHEMIAN     GIRL 


Many  of  the  most  effective  numbers  from  this  pretty  opera  have  been  recorded  by  the 
Victor,  besides  the  brilliant  potpourri  made  by  the  Opera  Company,  which  includes  tu> 
less  than  seven  of  the  most  tuneful  bits. 


DOUBLE-FACED  AND  MISCELLANEOUS  BOHEMIAN  GIRL  RECORDS 


(Overture  to  Bohemian  Girl 
\     La  Czarine  Mazurka     (Ganne) 
(I  Dreamt  I  Dwelt  in  Marble  Hall 
IThen  You'll  Remember  Me 


Pryor's  Bandl 


, 

1*287 


>16398 


n.e  Heart  Bow'd  Down 
Jo 


(Clay) 


Good  Bye,  Sweetheart 
(The  Heart  Bow'd  Down 
\     Home  to  our  Mountains 
(Then  You'll  Remember  Me 
\     /'//  Sing  Thee  Songs  of  Araby 
Then  You'll  Remember  Me 
(Then  You'll  Remember  Me 
\I  Dreamt  I  Dwelt  in  Marble  Halls 
(Then  You'll  Remember  Me 
1      Vilia  Song 


Pryor's  Bandf 
Elizabeth  Wheeler)  ., 
Harry  Macdonough/' 
Herbert  Goddard     (Piano  acc.)\.,n,A 
Herbert  Goddard}1^ 

Alan  Turner) 
Morgan  and  Macdonough} 
Frederic  Freemantel 
Harry  Macdonough 

George  Hamlin  74134 
Harry  Macdonough)  ,  ,  <,Qa 

Elizabeth  Wheeler/16 
Harry  Macdonouf 
Elizabeth  Whet 


„,.-.  ,„ 
^ 


as 


35O82 


{Fantasia  of  Principal  Airs 
Jig  Medley     (Rollinson) 
(Selection  from  Bohemian  Girl 
\      Yeloa  Overture     (Reissiger) 


Wm.  H.  Reitz 


rryor  s  Dan 
Pryor's  Band\_-    _ 
Pryor's  Bandf35081 


lO-inch,  $0.75 

lO-inch,  .75 

lO-inch.  .75 

10-inch.  .75 

12-inch.  1.25 

12-inch,  1.5O 

10-inch,  ,75 

12-inch,  1.25 

10-inch.  .75 

12-inch.  1.25 


Gems  from  Bohemian  Girl 

Part  of  Overture — Chorus,    "In  the  Gypsy's  Life" — Chorus,   "Come    with 
the    Gypsy    Bride" — Entr'act    Waltz — Chorus,    "Happy    and    Light" — "Then 
You'll  Remember  Me  "—Finale,  "  Oh,  What  Full  Delight " 
By  the  Victor  Light  Opera  Company  31761       12-inch,  $1.OO 


THE  CARNIVAL  AT  PRESBVRQ — ACT   U 
45 


CALVE      AS       CARMEN 


CARMEN 

OPERA  IN  FOUR  ACTS 

Text  by  Meilhac  and  Halevy,  founded  on  the  novel  of  Prosper  Merimee.  Music  by 
Bizet.  First  production  at  the  Opera  Comique,  Paris,  March  3,  1875.  First  London  produc- 
tion June  22,  1878.  First  New  York  production  October  23,  1879,  with  Minnie  Hauk. 
Some  notable  revivals  were  in  1893,  being  Calve's  first  appearance;  in  1905  with  Caruso; 
and  the  Hammerstein  revival  of  1906,  with  Bressler-Gianoli,  Dalmores,  Gilibert,  Trentini  and 
Ancona. 


Characters 

DON  JOSE,  (Don  Ho-zay)  a  Brigadier 

ESCAMILLO,  (Ei-ca-meef -yo)  a  Toreador 

DANCAIRO.  (Dan-ky -row)          ~\  c         ,       r 

REMENDADO.  (Re^n-aah'-^)    •  Smu**Iers  { 

ZUNIGA,  (Zoo-nee  -gah)  a  Captain 

MORALES.  (Moh-rah'-lez)  a  Brigadier 

MlCAELA,   (Mih-ku-ad '-lah)  a  Peasant  Girl 

FRASQUITA,  (Frass-kee'-tah)  }  „         .          ,  .        ,         ,    ,, 
..__,„_-,,,   ...      ,    ,   ,     .  >  Gypsies,    friends   of  Carmen 
MERCEDES,  (Mer-c hay -Jeez)  ) 

CARMEN,  a  Cigarette  Girl,  afterwards  a  Gypsy.  . 


Tenor 

Bass 

Baritone 

Tenor 

Bass 

Bass 

Soprano 

Mezzo-Soprano 
Mezzo-Soprano 
Soprano 


An  Innkeeper,  Guide,  Officers,  Dragoons,  Lads,  Cigar  Girls,  Gypsies,  Smugglers. 


Scene  and  Period :     Seville,  Spain;  about  1820. 

47 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  B  I  Z  E  T  '  S     CARMEN 

BIZET 

Georges  Bizet  was  a  native  of  Paris,  where  he  was  born  on  October  25,  1838.  Like 
Gounod  and  Berlioz,  he  won  the  Prix  de  Rome  (Free  de  Roam');  in  this  case  in  1857,  the  year 
that  his  first  opera,  Docieur  Miracle,  was  produced.  Among  other  productions  came  LesPecheurs 
de  Perles,  in  1863,  an  opera  recently  revived  at  Covent  Garden  with  Mme.  Tetrazzini  as  L.eila. 
Carmen  was  produced  in  1875,  and  this  most  Parisian  of  all  operatic  works  was  received  at 
its  production  with  a  storm  of  abuse.  It  was  immoral,  it  was  Wagnerian — the  latter  at  that 
time  being  a  deadly  sin  in  France!  Nevertheless,  the  supreme  merits  of  Carmen  have  won 
it  a  place  among  the  two  or  three  most  popular  operas  in  the  modern  repertory. 

The  talents  of  Bizet  are  shown  by  his  remarkable  lyric  gifts ;  the  power  of  writing  short, 
compact  and  finished  numbers,  full  of  exquisite  beauty  and  convincing  style,  at  the  same  time 
handling  dramatic  scenes  with  the  freedom  demanded  by  modern  opera.  His  music  is  more 
virile,  concentrated  and  stimulating  than  perhaps  any  other  French  composer. 

It  was  probably  not  a  little  owing  to  the  hostile  reception  of  this,  his  finest  work,  that  its 
composer  died  three  months  later.  The  music  Bizet  has  written,  however,  is  likely  long  to 
survive  him,  and  chief  among  the  works  into  which  he  ungrudgingly  poured  his  life's  energy 
was  Carmen. 

THE  PLOT 

I 

Carmen  has  its  opening  scene  in  a  public  square  in  Seville,  showing  at  one  side  a  guard- 
house, where  Jose,  a  young  brigadier,  keeps  guard.  Micaela,  a  peasant  girl  whom  he  loved 
in  his  village  home,  comes  hither  to  seek  him  with  a  message  from  his  mother.  As  Jose 
appears,  the  girls  stream  out  from  the  cigarette  factory  hard  by,  and  with  them  their  leading 
spirit  in  love  and  adventure,  Carmen,  the  gypsy,  reckless  and  bewitching.  Heedless  of  the 

Kressing  throng  of  suitors,  and  attracted  by  the  handsome  young  soldier,  Carmen  throws 
im  a  flower,  leaving  him  dazed  and  bewildered  at  her  beauty  and  the  fascinating  flash  of 
her  dark  eyes.  A  moment  later  a  stabbing  affray  with  a  rival  factory  girl  leads  to  the  gypsy's 
arrest,  and  she  is  placed  in  the  care  of  Jose  himself.  A  few  more  smiles  and  softly-spoken 
words  from  the  fascinating  Carmen,  and  he  is  persuaded  to  allow  her  to  escape.  There  is  a 
sudden  struggle  and  confusion — the  soldier  lets  go  his  hold — and  the  bird  has  flown ! 

II 

Act  II  takes  place  in  the  tavern  of  Lillas  Pastia,  a  resort  of  smugglers,  gypsies  and  ques- 
tionable characters  generally.  Here  arrives  Escamillo,  the  toreador,  amid  the  acclamations  of 
the  crowd,  and  he,  like  the  rest,  offers  his  homage  to  Carmen.  Meanwhile,  the  two  smug- 
glers, Dancairo  and  Remendado,  have  an  expedition  afoot  and  need  Carmen  to  accompany 
them.  But  she  is  awaiting  the  return  of  the  young  soldier,  -who,  as  a  punishment  for  allow- 
ing her  to  escape,  had  gone  to  prison,  and  she  will  not  depart  until  she  has  seen  him.  The 
arrival  of  Jose  leads  to  an  ardent  love  scene  between  the  two.  Carmen  dances  her  wild  gypsy 
measures  before  him ;  yet,  in  the  midst  of  all,  he  hears  the  regimental  trumpets  sounding  the 
retreat.  While  Carmen  bids  him  remain  and  join  her,  the  honor  of  a  soldier  urges  him  to 
return.  The  arrival  of  his  captain,  -who  orders  him  back,  decides  Jose.  He  defies  his  officer, 
who  is  bound  by  the  smugglers,  and  Jose  deserts  his  regiment  for  Carmen. 

Ill 

The  next  scene  finds  Jose  with  the  smugglers  in  the  rocky  camp  in  the  mountains.  The 
career  of  a  bandit,  however,  is  one  to  which  a  soldier  does  not  easily  succumb.  His  distaste 
offends  Carmen,  who  scornfully  bids  him  return  home,  she  also  foreseeing,  in  gypsy  fashion, 
with  the  cards,  that  they  will  end  their  careers  tragically  together.  In  the  midst  of  this  strained 
situation  two  visitors  arrive :  Escamillo,  the  toreador,  in  the  character  of  a  new  suitor  for 
Carmen;  and  Micaela,  with  a  message  horn  Jose's  dying  mother.  The  soldier,  frustrated  in 
his  attempt  to  kill  Escamillo,  cannot  resist  the  girl's  appeal  and  departs,  promising  to  return 
later  for  his  revenge.  .,.. 

The  final  act  takes  place  outside  the  Plaza  de  Toros,  at  Seville,  the  scene  of  Escamillo' s 
triumphs  in  the  ring.  Carmen  has  returned  here  to  witness  the  prowess  of  her  new  lover, 
and  is  informed  by  her  friends  that  Jose,  half  crazed  with  jealousy,  is  watching,  capable  of 
desperate  deeds.  They  soon  meet,  and  the  scene  between  the  maddened  soldier  and  the 
gypsy  is  a  short  one.  The  jealous  Jose  appeals  to  her  to  return  to  him,  but  she  refuses  with 
scorn,  although  she  knows  it  means  death.  In  a  rage  Jose  stabs  her,  and  thus  the  end  comes 
swiftly,  while  within  the  arena  the  crowd  is  heard  acclaiming  the  triumph  of  Escamillo. 


VICTOR    BOOK    OF    THE     O P E R A  —  B  I Z E T  '  S     CARMEN 


Prelude  (Overture) 

By  La  Scala  Orchestra  *68052     12-inch,  $1.25 

By  La  Scala  Orchestra  *62617     lO-inch,       .75 

The   Prelude    to   Carmen    opens    with     a 

quick    march    in    2-4    time,  on    the    following 

theme : 

The  march  is  of  an  exceedingly  virile  and  fiery  description  and  is  taken  from  the  music 
preceding  the  bull-fight  in  the  last  act.  Following  this  stimulating  march  comes  the 
"  Toreador's  Song,"  leading  to  the  march  theme  again.  These  two  sections,  complete  in 
themselves,  are  now  followed  by  a  short  move- 
ment in  triple  time  indicating  the  tragic  con- 
clusion of  the  drama.  Here,  the  appealing  notes 
of  the  brass,  heard  beneath  the  tremolo  of  the 
strings,  gives  poignant  expression  to  the  pathos 
which  lies  in  the  jealous  love  of  the  forsaken  Jose,  and  expresses  the  menace  of  the  future 
death  of  Carmen.  This  movement  breaks  off  on  a  sudden  detached  chord  of  the  diminished 
seventh  as  the  curtain  rises. 

ACT  I 

SCENE— A  Public  Square  in  Seoille 

The   curtain  rises    on  a  street  in  Seville,   gay  with   an   animated   throng.     In   the  fore- 
ground  are  the  military  guard  stationed   in  front  of  their  quarters.     The  cigarette   factory 

lies  to  the  right,  and  a  bridge 
across  the  river  is  seen  in  the 
background. 

Among  the  crowd  which 
throngs  the  stage  a  young  girl 
may  be  seen  searching  for  a 
familiar  face.  It  is  Micaela, 
the  maiden  whom  Jose  has  left 
behind  in  his  native  village. 
The  soldiers  accost  her,  and 
from  them  she  learns  of  her 
lover's  absence.  She  declines 
the  invitation  to  remain,  and 
departs  hastily. 

The  cigarette  girls  now 
emerge  from  the  factory,  fill- 
ing the  air  with  the  smoke  of 
their  cigarettes,  and  with  them 
Carmen,  who  answers  the 
salutations  of  her  admirers 
among  the  men  by  singing  the 
gay  Habanera. 

Habanera     (Love  is  Like  a  Wood-bird)' 

By  Jeanne  Gerville-Reache,  Contralto  (In  French)     88278     12-inch,  $3.00 

By  Emma  Calve,  Soprano  (In  French)     88O85      12-inch,     3.OO 

By  Maria  Gay,  Mezzo-Soprano  (In  Italian)     92059     12-inch,     3.OO 

This  charming  "  Habanera"  has  always  been  a  favorite  Carmen  number,  its  entrancing 

rhythm  always  being  delightful  to  the  ear ;  and  it  does  not  seem  strange  that  Don  Jose  found 

it  irresistible  when  sung  by  Carmen. 

Though   often  attributed   to   Bizet,  the   air  -was   not   original  with   him,  but  •was  taken 
from  Yradier's  "Album  des  Chansons  Espagnoles.  "     The  refrain, 
Allegretto  quan  Andantino. 


L'a  •  mour  est     en  -  fant  de    Bo  -  heme 
And  Love's  a     gyf-  ty  boy  to     true. 


-  mais,  ja-mais  con  nu     de 
u/as   a    rov-er  free  at 


loi, 
airt 


is  a  particularly  fascinating  portion  of  the  number. 

"   *  Double-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FACED  CARMEN  RECORDS,  page  60. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  '  S     CARMEN 


ACT    I 


Ah,  love! 

For  love   he   is  the  lord  of  all, 
And  ne'er   law's  icy  fetters  will  he  wear, 
If  thou  me  lovest  not,  I  love  thee, 
And  if  I   love  thee,   now  beware! 
If  thou  me  lovest  not,   beware! 
But   if   I    love   you,    if    I    love    you,    bewa 
beware! 


HABANERA. -"Love  is  Like  a  Wood-Bird  Wild.' 
CARMEN  : 

Ah!   love,   thou   art  a   wilful   wild  bird, 

And  none   may   hope   thy   wings  to  tame, 

If  it  please  thee  to  be  a  rebel, 

Say,   who  can   try  and  thee   reclaim? 

Threats  and   prayers  alike   unheeding; 

Oft   ardent   homage   thou'lt   refuse, 

Whilst   he  who  doth  coldly  slight  thee, 

Thou    for   thy   master   oft   thou'lt   choose. 

To  a  large  number  of  opera-goers  and  music-lovers  there  is  but  one  emotional  soprano 

— but  one  exponent  of  such  rdles  as  Carmen  and  Santuzza.    Calv6's  Carmen,  especially,  is  almost 

universally  accepted  as  the  greatest  of  all  impersonations  of  the  role. 

Gerville-Rdache's  Carmen  is  a  fine  impersonation,  on  quite 

original  lines,   her  conception  being    based  on  a  careful    study 

of  MdrimeVs  story  and  on  the  teachings  of  her  Spanish  mother. 

Carmen,  according  to    Mme.  Gerville-Rdache,  was  a  passionate 

and  fickle  woman,  but  not  a  vulgar  one. 

The  men  invite  Carmen  to  choose  a  new  lover, 
and  in  reply  she  flings  a  flower  in  the  face  of  the  sur- 
prised Jose  and  laughingly  departs. 

Mia  madre  vedo  ancor    (My  Mother 
I  Behold) 

By  Fernando  de  Lucia,  Tenor,  and  Giuseppina 
Huguet,  Soprano     (Piano  ace.) 

(In  Italian]     92052      12-inch 

Parle-moi  de  ma  mere  (Tell  Me  of  My 
Mother) 

By  Lucy  Marsh,  Soprano,  and  John  McCormack, 

Tenor  (In  French)      74345      12-inch,  $1.50 

Now  Micaela  returns,  and  finds  the  soldier  she  seeks.  Her  song 
tells  of  the  message  of  greeting  she  brings  Jose  from  his  mother, 
and  with  it  a  kiss.  The  innocence  of  Micaela  is  here  a  foil  to 
the  riper  attractions  of  the  gypsy,  and  the  music  allotted  to  the 
maiden  possesses  the  same  simple  charm;  the  conclusion  of 
Micaela's  air  being  a  broad  sustained  melody  of  much  beauty. 
Jose  takes  up  the  strain,  as  the  memories  of  his  old  home  crowd 
upon  him,  and  the  beautiful  duet  follows. 


GAY    AS    CARMEN 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  '  S    CARMEN 


far  away. 


CALVE    AS    CABMEN 

Micaela  leaves  him  after  a  tender 
farewell,  and  Jose  begins  to  read  his 
mother's  letter,  but  is  interrupted  by  a 
commotion  within  the  factory.  Carmen 
has  stabbed  one  of  her  companions,  and 
is  arrested  and  placed  under  the  guard 
of  Don  Jose.  The  soldiers  drive  away 
the  crowd,  and  Carmen,  left  alone  with 
Jose,  brings  her  powers  of  fascination  to 
bear  on  the  young  soldier,  partly  to  facili- 
tate her  escape,  and  partly  because  he 
has  attracted  her  attention.  Here  she 
sings  the  Seguidilla,  a  form  of  Spanish 
country  dance. 

Seguidilla  (Near  the  Walls 
of  Seville) 

By  Maria  Gay,  Mezzo- 
Soprano       (In  Italian) 

91O85      lO-inch,  $2.00 
By  Margarete  Matzenauer, 
Mezzo-Soprano  (In  French) 

871O3      lO-inch,  2.OO 
The  Seguidilla  is  one  of  Spain's  most 
beloved  dances,  and  its  rhythm  is  most 
fascinating.     Bizet  has  given  us  a  brilliant 
to  Michael  Carre's  words. 
CARMEN  (airily): 

Nigh  to  the  walls  of  Sevilla, 

Soon  at  my  friend  Lillas  Pastia 

I'll  trip  thro'  the  light   Seguidilla, 

And  I'll  quaff  Manzanilla, 

I'll  go  seek  out  my  friend  Lillas  Pastia. 


MICHAELA: 

Faithful  messenger  from  her  to  thee, 

I  bring  a  letter, 

And  some  money  also; 

Because  a  dragoon  has  not  too  much. 

And,  besides  that — 
JOSE:      Something  else? 
MICHAELA: 

Yes,  I  will  tell  you. 

What  she  has  given,   I   will  to  thee   render. 

Your   mother    with   me   from   the   chapel   came, 

And  then,  lovingly,   she  kissed  me. 

".Mv   daughter,"   said  she,  to  the  city  go: 

AYhen  arrived  in   Seville, 

Thou  wilt  seek  out  Jose,   my  beloved  son; 

Tell  him  that  his  mother, 

By   night,   by   day,    thinks   of   her  Jose: 

For  him   she  always  prays  and   hopes, 

And  pardons  him,   and  loves  him  ever. 

And  then  this  kiss,  kind  one, 

Thou  wilt  to  him  give  for  me." 
JOSE:     A  kiss  from  my  mother? 
MICHAELA: 

To  her  son. 

Jose,   I  give   it  to  thee — as   I   promised. 

(Michaela  stands   on   tip-toe  and   kisses  Jose — - 

regards  Michaela  tenderly.) 
JOSE: 

My  home  in  yonder  valley, 

My  mother  lov'd  shall  I  e'er  see? 
Ah  fondly  in  my   heart  I  cherish 

Mem'ries   so   dear  yet  to   me. 
MICHAELA: 

That   one   sweet   hope, 
'Twill   strength   and   courage   give   thee. 
That  yet  again  thou  wilt  thy  home 
And  thy  dear  mother  once  more  see. 


example  in  this  dainty  number,   -which  he  has  set 

(Plaintively,   casting  glances  at  Jose) : 
Yes,  but  alone  one's  joys  are  few. 
Our  pleasures  double,   shared  by  two! 
So  just  to  keep  me  company, 
My  beau  I'll  take  along  with  me! 


VICTOR    BOOK    OF     THE    O  P  E  R  A  —  B  I  Z  E  T  '  S    CARMEN 


Although  Jose  says  to  himself  that  the  girl  is  only  amusing  herself,  and  whiling  away 
the  time  with  her  gypsy  songs,  the  words  which  fall  on  his  ear — of  a  meeting-place  on  the 
ramparts  of  Seville — of  a  soldier  she  loves — a  common  soldier,  all  these  play  upon  the  feel- 
ings of  Jose  and  rouse  in  him  a  love  for  the  changeful  gypsy,  who  is  fated  to  be  the  cause 
of  his  downfall. 

He  unties  her  hands,  and  when  the  soldiers  are  conducting  her  to  prison  she  pushes  Jose, 
•who  falls,  and  in  the  confusion  she  escapes. 

Between  Acts  I  and  II  is  usually  played  a  charming  entr'acte, 
which  has  been  rendered  for  this  Carmen  series  by  Mr.  Herbert. 

Intermezzo  (1st  Entr'acte) 

By  Victor  Herbert's  Orch.        6OO67     lO-inch,  $O.75 

ACT  II 

SCENE— A  Tavern  in  the  Suburbs  of  Seville 

The  second  act  opens  amid  the  Bohemian  surroundings  of  the 
tavern  of  Lillas  Pastia  ;  the  wild  tune  with  which  the  orchestra  leads 
off  depicting  the  freedom  and  gaiety  with  which  the  mixed  char- 
acters here  assembled  are  wont  to  take  enjoyment  and  recreation. 

Les  tringles  des  sistres     (Gypsy  Song) 

By  Emma  Calve,  Soprano 

(In  French)     88124     12-inch,  $3.OO 

Carmen  again  leads  them  with  her  song,  another  lively  gypsy 
tune,  in  the  exulting  refrain  of  which  all  join,  a  picture  of  reck- 
less merriment  resulting. 

Ah!   when  of  gay  guitars  the  sound 
On  the  air  in  cadence  ringing, 
Quickly  forth  the  gipsies  springing, 
To   dance  a  merry,  mazy   round. 
While  tambourines  the  clang  prolong, 
In   rhythm   with   the  music  beating, 
And  ev'ry  voice  is  heard  repeating 
The  merry  burthen   of  glad  song.  CALVE  SINGING  THE  GYPSY 

Tra  la  la  la,  etc.  SONG— ACT   n 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  '  S    CARMEN 


3.0O 


But  Carmen  is  thinking  of  the  soldier  who  went  to  prison  for 
her  sake  and  who,  now  at  liberty,  will  shortly  be  with  her.  Her 
musings  are  interrupted  by  the  arrival  of  a  procession  in  honor 
of  Escamillo,  whose  appearance  is  followed  by  the  famous 
"  Toreador  Song,"  the  most  popular  of  all  Carmen  numbers. 

Cancion  de  Toreador     (Toreador  Song) 

By  Titta  Ruffo,  Baritone,  and  La  Scala  Chorus 

(In  Italian)      92O65      12-inch,  $3.OO 
By  Emilio  de  Gogorza,  Baritone,  and  New  York 

Opera  Chorus  (In  Spanish)     88178      12-inch,     3.OO 
By  Pasquale  Amato,  Baritone 

(In  Italian)      88327      12-inch,     3.OO 
By  Giuseppe  Campanari,  Baritone 

(In  Italian)      85O73      12-inch, 
By  Alan  Turner,  Baritone 

(In  English)   *  16521      10-inch. 

By  Francesco  Cigada,  Baritone:  Giuseppina 
Huguet,  Soprano;  Inez  Salvador,  Mezzo- 
Soprano  ;  and  La  Scala  Chorus 

(In  Italian)   *62618      10-inch,        .75 

No  less  than  six  renditions  of  this  universal  favorite  are 
offered  by  the  Victor  for  the  choice  of  customers. 

After  Escamillo  's  departure,  Carmen  's  comrades  invite  her  to 
part  upon  a    smuggling    expedition,    but 

she    refuses    to    stir    until   she    sees    the       CARUSO    AS    DON    JOSE 
soldier  for    whom  she  is  waiting.      Their 

efforts  to   persuade  her  has  been    put  by  Bizet  into  the  form  of  a 
brilliant  quintet. 

Quintet-  "Nous  avons  en  tete  une  affaire" 
(We  Have  a  Plan) 

By  Mmes.  Lejeune,  Soprano;  Duchene,  Mezzo- 
Soprano;  Dumesnil,  Soprano;  Mm.  Leroux, 
Tenor;  Charles  Gilibert.  Baritone 

(In  French)     88237     12-inch,  $3.OO 

This  is  one  of  the  favorite  numbers  in  Bizet's  opera,  and  at  the 
same  time  one  of  the  most  difficult  imaginable.  When  sung  as  the 
tempo  indicates,  it  goes  at  break-neck  speed,  and  it  is  only  the  most 
capable  artists  who  can  do  it  justice. 

For  the  present  reproduction,  the  Victor  assembled  a  most 
competent  corps  of  singers,  who  were  under  the  direction  of  the  late 
Charles  Gilibert,  himself  the  most  famous  of  Remendados. 

Jose's  voice  being  heard  outside,    Carmen  pushes    her    compan- 
ions from  the  room,   and  greeting  him  with  joy,  questions  him  about 
his  two  months  in  prison.     She    then    tries   her  fascinations  on  the 
stolid  soldier  to  induce  him  to  join  the  band  of  smugglers.      Carmen 
dances  for  the  soldier  while  he   watches  her  with  fascinated   gaze. 
Her  efforts  are  useless,  as  he  is  reminded  of  his  duty  when  he  hears 
the  bugle  in  the  distance  summoning  him  to  quarters.     "Then  go, 
'  ^atc  vou  '  "  says  Barmen,  and  mocks  him,  singing 
Ah,    this   is   too   mortifying! 
All    to    please    you,    sir,    I  gaily  sang  and  danced. 
(Aside.)  Rut  now  ta  ra  ta!   he  hears  the  trumpet  call! 
Ta  ra  ta  ra!  and  then  off  he  flies 
Like  a  guest  to  a  feast! 

She  is  furious,  and  pitches  at  him  his  cap  and  sabre,  and  bids  him  begone. 

^Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  CARMEN  RECORDS,  page  60. 


I-MORES   AS   DON    JOSE 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  *  S    CARMEN 


Air  de  la  fleur     (Flower  Song) 

By  Enrico  Caruso,  Tenor 

(In  French)     88208 
By  Enrico  Caruso,  Tenor 

(In  Italian)     882O9 
By  Charles  Dalmores,  Tenor 

(In  French)      85122 
By  Herman  Jadlowker,  Tenor 

(In  French)      76027 
By  Fernando  de  Lucia,  Tenor 

(In  Italian)      76O01 
By  Evan  "Williams,  Tenor 

(In  English)      74122 
By  John  McCormack,  Tenor 

(In  Italian)      74218 

Desperate  at  the  thought  of  losing  her  forever,  'Don 
Jose  shows  her  the  flowers  she  threw  him  at  their  first 
meeting,  and  which  he  had  preserved,  then  sings  this 
lovely  romance,  beginning : 


BRESSLER-GIANOLI    AS    CARMEN 


p«m< 


r^-jTjVE'l 


* 


\vl\  v 


~*t 

La    fleur  que  tu   ma-vals  je  •  te    -    e    Dans  ma  pri  •  son       m'e-tait  res  -  U:    •    e 
This  flow 'r you  gave  to  me,  de-grad-ed  'Midpri-son  walls    I've  kept  th<f  fad  •  ed 

The  struggle  between  love  and  duty  which  has  been  distracting  the  unfortunate  lover  is 
now  seemingly  forgotten,  and  he  pours  out  his  heart  in  this  romanza,  telling  only  of  his  great 
passion  for  the  beautiful  but  heartless  gypsy. 


DON  JOSE: 
This  flowe 


you   gave   to   me,   degraded 
"      I've  kept,  tho'  faded; 


'Mid  prison  walls, 

Tho'    withered   quite,   the   tender  bloom 

Doth  yet  retain   its  sweet  perfume. 

Night  and  day  in  darkness  abiding, 

I   the  truth,   Carmen,   am   confiding; 

Its  loved  odor  did  I  inhale, 

And   wildly   called   thee   without   avail. 

My  love  itself  I  cursed  and  hated, 

Then  alone  myself  I   detested, 
And  naught  else  this  heart  interested, 
Naught  else  it  felt  but  one  desire, 
One  sole  desire  did  it  retain, 
Carmen,   beloved,   to   see   thee   once   again! 
O,    Carmen,    mine!    here    as    thy    slave,    love 
binds  me  fast, 

Carmen,    I   love   thee! 

Prom  Schirmer  score.    Copy't  G.  Schirmer 

The  number  might  have  been  written  expressly  for 
Caruso,  so  well  does  it  suit  his  voice  and  style.  One  can 
but  marvel  at  the  masterful  ease  of  phrasing,  and  the 
warmth  of  vocal  coloring  imparted  by  the  singer.  The 
changing  moods  of  the  lover  are  here  indicated  with  dra- 
matic expression — the  regret  at  the  havoc  Carmen  has  played 
with  his  life  mingling  with  the  devotion  for  her  he  still  feels. 
This  is  a  remarkable  and  memorable  performance,  the  whole 
song  being  lighted  up  with  that  rich  vocal  beauty  and  artis- 
tic genius  which  belong  only  to  a  Caruso. 

Other  fine  renditions,  at  varying  prices,  in  both   Italian 
and  English,  are  also  offered. 
Carmen  then  paints  the  joys  of  the  gypsies'  life  which  might  be  Jose 's,  if  he  would  desert 
his  regiment  and  follow  her. 

54 


VICTOR    BOOK    OF    THE    O  P  E  R  A— B  I  Z  E  T  '  S    CARMEN 
Las  bas  dans  la  montagne  (Away  to  Yonder  Mountains) 

By  Emma  Calve,  Soprano,  and  Charles  Dalmores,  Tenor 

(In  French)      89O19      12-inch,  $4.0O 

The  soldier  listens  with  half-willing  ears,  his  voice  joining  hers  at  the  close,  in  a  lovely 
duet  passage. 
CARMEN:  '•  ?£<•  "' 

For  *oof,    the   sky — a    wandering   life; 
For  country^the  whole  world; 
Thy    will    thy   master;    .. 
And   above   all — most  prized  of  all — 
Liberty!    freedom! 

Up  yonder,  up  yonder,  if  thou  lov'st  me, 
To   the   mountains,    together    we'll   go. 
However,  in  spite  of  Carmen 's  fascinations,  Jose  is  about  to  return  to  his  duty,  when  the 
appearance    of    his    superior    officer    Zuniga,   who   orders    him    back,    decides  the    matter. 
Don  Jose  resents    the  overbearing  tone  his  captain   uses   and  defies   him.     Zuniga  is  finally 
overpowered  and  bound  by  the  gypsies,  and  the  smugglers  all  depart  on  their  expedition. 

Aragonaise    (2d  Entr'acte) 

By  Victor  Herbert's  Orchestra  7OO67     12-inch,  $1.25 

By  La  Scala  Orchestra     (Double-faced— See  page  60}  621O2     lO-inch,       .75 

The  retreat  in   the   mountains  is  musically  described  by  this  pastoral  intermezzo.     A 

dreamy  melody  given  to  the  flute,  with  a  pizzicato  accompaniment,  is  taken  up  by  the  other 

instruments  in  turn,  the  strings  joining  in  the  coda. 


JOSE: 

Carmen ! 
CARMEN : 

Wilt  come  with  me? 

Up  yonder,   up  yonder,   thus  will   we   go 

Away,   if  thou  lov'st  me,   together! 


This  is    one  of  the  finest  records  made  by  the  Herbert  Orchestra,  who  have  given  an 
artistic  and  finished  rendering  of  the  interlude. 


MICAELA    PLEADS    WITH    JOSE ACT    III 

55 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  '  S    CARMEN 


ACT  III 

SCENE— A  Wild  and  Rocky  Pass  in  the  Mountains 
As  the  curtain  rises,  the  smugglers  are  seen  entering  their  rocky  lair.     Here  occurs  the 

famous  sextette,  a  portion  of  which  is  given  in  the  "Gems  from  Carmen"    (page 60). 

The  smugglers  prepare  to  camp  for  the  night.     It  is  evident  that  Jose  is  already  repenting 

of  his  folly,  and  that  Carmen  is  tiring  of  her  latest  lover.     After  a  quarrel  with  Jose,  she  joins 

Frasquita  and  Mercedes,  -who  are  telling  fortunes  with  cards. 

En  vain  pour  eviter     (Card  Song) 

By  LavindeCasas, Mezzo-Soprano (P/ano ace.)  (Inflation)  *62617     10-inch,    $O.75 

Carmen  tells  her  own  fate  by  the  cards, 
reading  death,  first  for  herself  and  then  for  her 
lover.  In  vain  she  shuffles  and  re-tries  the 
result ;  the  answer  is  ever  the  same. 

This  highly  dramatic  air,  one  of  the  most 
impressive  numbers  in  Bizet's  opera,  is  effect- 
ively sung  by  Mme.  d6  Casas. 

The  neighboring  camp  being  ready,  the 
smugglers  retire,  and  the  stage  is  once  more 
deserted. 

Je  dis  que  rien  ne  m'epouvante 
CMicaela's  Air,"  I  am  not  Faint- 
Hearted") 

By  Geraldine  Farrar,  Soprano 

(In  French)     88144     12-inch,  $3.OO 

By  Alma  Gluck,  Soprano 

(In  French)     74245     12-inch.     1.5O 

Into  this  strange  and  wild  scene  now  enters 
Micaela,  the  peasant  sweetheart  of  Don  Jose, 
who  has  forgotten  her  in  his  fascination  for  the 
wayward  Carmen.  Micaela  has  braved  the 
dangers  of  the  road  to  the  smugglers'  retreat, 
whither  Don  Jose  has  followed  Carmen,  to  carry 
to  the  soldier  a  message  from  his  dying  mother. 
The  innocent  girl  is  frightened  by  the  vast  and 


(EMMA  CALV£) 


>  Doubk-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FACED  CARMEN  RECORDS,  page  60. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  B  I  Z  E  T  '  S    CARMEN 

lonely  mountains,  and  in  her  aria  appeals  to  Heaven  to  protect  her, 
ingenuously  confessing  her  love  for  Don  Jose  and  her  detestation  of  the 
woman  who  has  led  him  away  from  his  duty. 

MICAELA: 

I  try  not  to  own  that  I  tremble; 

But    I    know    I'm    a    coward,    altho'    bold    I 

appear. 
Ah !   how  can  I   ever  call   up  my  courage, 

While   horror   and   dread   chill   my   sad   heart 

with   fear? 
Here,    in    this    savage    retreat,    sad    and    weary 

am  I, 

Alone  and  sore  afraid. 
Ah !   heav'n,  to  thee  I  humbly  pray, 

Protect  thou  me,   and  guide  and  aid! 
I   shall   see   the   guilty  creature, 

Who  by  infernal  arts  doth  sever 
From  his  country,  from  his  duty, 

Him  I    loved— and  shall   love  ever! 
I  may  tremble  at  her  beauty, 

But  her  power  affrights  me   not. 
Strong,   in  my  just  cause  confiding, 

Heaven !    I   trust   myself  to  thee. 
Ah!  to  this  poor  heart  give  courage, 

Protector!    guide  and  aid  now   me! 

The  young  girl,  hearing  a  shot  fired,  runs  into  a  cave  in  fright. 
Jose,  who  is  guarding  the  smugglers'  effects,  has  seen  a  stranger  and 
fires  at  him.  It  proves  to  be  Escamillo,  the  toreador,  who  has  come 
to  join  Carmen.  He  appears,  examining  his  hat  with  rueful  gaze,  as  TRENTINI  AS  FRASQUITA 
Jose's  bullet  had  gone  through  it.  "Who  are  you?"  says  the  latter. 
"  1  am  Escamillo,  toreador  of  Granada !  "  replies  the  bull  fighter. 

The  duet  which  follows  is  given  here  by  two  famous  artists  of  the  Paris  Op^ra. 

Je  suis  Escamillo     (I  am  Escamillo !) 

By  Leon  Beyle,  Tenor,  and  Hector  Dufranne,  Baritone 

(Double-faced— See  page  60)    (In  French)     62750     10-inch,  $0.75 

The  two  men  compare  notes,  and  learning  that  they  are  rivals,  Jose  challenges  the  other 
to  a  duel  with  knives,  which  is  interrupted  by  the  timely  arrival  of  Carmen  herself.  This 
dialogue,  with  the  fiery  duet  at  the  close,  well  depicts  this  exciting  scene. 

A  popular  priced  rendition  by  Beyle  and  Dufranne,  of  the  Optra,  is  listed  above. 

Finale — "Mia  tu  sei"    (You  Command  Me  to  Leave  You) 

By  Antonio  Paoli,  Tenor;  Giuseppina  Huguet,  Soprano; 

Inez  Salvador,  and  Francesco  Cigada  (In  Italian)      92O35     12-inch,  $3.OO 

A  dramatic  scene  between  Carmen  and  Jose  is  interrupted  by  Micaela,  who  begs  Jose  to 

return  to  his  mother;  and  Carmen,  with  fine  scorn,  echoes  her  request.     Thus  to  leave  his 

rival  in  possession  of  the  field  is  too  much  for  the  soldier,  who  swears  never  to  be  parted 

from  the  gypsy  until  death. 

MICHAELA: 

CARMEN    (to  Jose):  Be  not  deaf  to  my  prayers; 

Go,   and   go   quickly;    stay  not   here;  Thy  mother  waits  thee  there. 

This  way  of  life  is  not  for  thee!  The  chain   that   binds  thee,  Jose 

TOSE    (to   Carmen)  :  Death  will  break. 

To    depart   thou    dost   counsel    me?  JOSE   (to  Micliaela): 

CARMEN:  Go  from  hence; 

Yes,  thou   shouldst  go —  I  cannot  follow  thee. 

JOSE    (fiercely):  (To  Carmen.) 

Yes,   that   thou   mayst   follow  Mine  thou   art,   accursed  one! 

Another   lover — the   toreador!  And  I  will  force  thee  to  know 

No,   Carmen,    I    will   not   depart!  And   submit   to  the  fate 

That   both    our    lives    unites! 

The  message  from  his  dying  mother,  however,  decides  him ;  he  will  go,  but  vows  to 
return.  In  this  wild  and  tumultuous  number  the  jealous  anger  of  Jose  gives  rise  to  some 
highly  dramatic  singing,  delivered  with  extreme  intensity  and  power  by  Paoli,  the  tragic 
theme  at  the  close  being  introduced  with  meaning  effect.  The  Toreador  chorus  indicates 
the  triumph  of  Escamillo  in  the  gypsy's  attentions,  and  this  with  the  orchestral  close  slowly 
sinking  to  rest  brings  the  powerful  act  to  a  finish. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — B  I  Z  E  T  '  S    CARMEN 


ACT  IV 

(A  Square  in  Seville,  with  the  walls  of  the 
Bull  Ring  shown  at  the  back) 

Prelude 

By  Victor  Herbert's  Orchestra 

70066     12-inch,  $1.25 

The  fourth  act  opens  with  a 
momentary  brightness.  Outside  the 
Plaza  de  Toros,  in  Seville,  an  animated 
crowd  awaits  the  procession  about  to 
enter  the  ring.  This  short  movement 
is  a  quick  bustling  one,  only  the  plaint- 
ive oboe  solo  indicating  the  tragedy 
which  is  soon  to  occur.  The  playing 
of  this  striking  prelude  is  on  the  same 
artistic  level  which  marks  each  of  the 
renditions  by  this  famous  orchestra. 

This  scene,  as  the  orange  sellers, 
hawkers  of    fans,   ices   and    the    rest, 
press  their  wares  on  the  waiting  crowd, 
is  extremely  gay,  and  affords  •welcome 
relief  from  the  intensity  of  the  drama. 
Escamillo,  who  has  returned  to  take  part  in  the  bull-fight,  now  enters,  and  all  join  in 
the  refrain  of  the  Toreador  Song  in  his  honor. 

Se  tu  m'ami     (If  You  Love  Me) 

By  Margarete  Matzenauer,  Mezzo-Soprano ;  Pasquale  Amato,  Baritone ; 

with  Metropolitan  Opera  Chorus  (In  Italian)     89O61      12-inch,  $4.OO 

By  Inez  Salvador,  Mezzo-Soprano,  and  Francesco  Cigada,  Baritone 

(Doable-faced— See  page  60)      (In  Italian)     621O2      10-inch,        .75 

Escamillo  takes  farewell  of  Carmen  before  entering  the  arena.  He  promises  to  fight  the 
better  for  her  presence,  and  she,  half  conscious  of  what  is  coming,  avows  her  readiness  to 
die  for  him.  This  number  is  full  of  lovely  melodies  and  one  of  the  most  beautiful  records 
of  the  Carmen  series. 


JOSE    PLEADING   WITH    CARMEN- 


VICTOR    BOOK    OF    THE    OPERA-BIZET'S    CARMEN 


As  the  procession  passes  on,  the 
she  replies  that  she  fears  him  not. 


earning  comes  to  Carmen  that  Jose  is  here,  to  which 


Duetto  e  Finale     (Duet  and  Finale) 

By  Maria  Passeri,  Mezzo-Soprano ; 
Antonio  Paoli,  Tenor ;  and  La  Seala 
Chorus  92050  12-inch,  $3.00 

Jose  now  enters  and  makes  a  last  appeal,  which  is  dramatic 
in  its  intensity.  It  takes  the  form  of  a  swinging  melody  to  an 
insistent  triplet  accompaniment.  To  each  request  of  her  lover, 
Carmen  adds  her  disdainful  negative,  reckless  of  the  danger  which 
threatens  her. 

JOSE   (in  desperation)  : 

Now  thou   refusest  my   prayers, 
Inhuman  girl!     For  thy  sake  am  I  lost! 
And  then  to  know  thee  shameless,  infamous! 
Laughing,  in  his  arms,   at  my  despair! 
No,  no!   it  shall   not  be,   by   Heaven! 
Carmen,  thou  must  be  mine,  mine  only! 
CARMEN    (.proudly):     No,   no,   never! 
JOSE:      Ah!   weary  am  I   of  threats. 
CARMEN:     Cease  then, — or   let  me   pass! 
CHORUS   (in  bull  ring):     Victory!   victory! 

Viva   Kscamillo ! 

JOSE:     Again  I  beseech  thee,  Carmen, 
Wilt  thou   with  me  depart? 


MARTIN    AS    DON    JOSE 

Carmen's  last  refusal,  as  she  flings 
him  back  his  ring,  rouses  the  soldier's 
jealousy  to  madness  and  he  stabs  her  to 
the  heart.  As  she  falls  the  success  of  the 
Toreadorin  the  arena  is  announced  by  the 
singing  of  his  well-known  refrain.  The 
last  notes  of  the  opera  are  a  few  pitiful 
tones  from  the  stricken  Jose  addressed 
to  the  mute  form  of  his  beloved. 

This  is  another  truly  powerful 
record  by  Paoli,  worthy  of  a  climax  such 
as  this.  The  music  is  delivered  with  the 
realism  and  earnestness  beyond  the 
reach  of  all  but  the  very  few  tenors,  and 
it  enables  the  listener  to  fully  realize  the 
stress  and  pathos  of  this  moving  dra- 
matic picture. 

DOUBLE-FACED  AND  MISCELLANEOUS  CARMEN  RECORDS 
Carmen  Selection  By  Pryor's  Band     31562      12-inch,     $1.0O 

/Carmen  Selection  By  Sousa's  Band\,,ftnn     . ,   .     .          .  ,- 

I      Freischutz— Overture  By  Sousa's  Banaf35000      12-mch'        l-25 

/Carmen  Selection  By  Pryor's  Bandi  ,  ,,.•_,.      ,  „   •     u  T<- 

\     Marion— jlh  !  fuyez  douce  image  !  By  M.  T^occa,   Tenor/16575      1Q-mch'          -75 

The  selection  begins  with  the  brilliant  and  animated  Prelude,  the  first  part  of  which  is 
given,    including    the    refrain    of    the    famous 
"  Toreador  Song."     Then  is  heard  (as  a  cornet 

solo)  the  quaint  "Habanera,"  £.'T£  £'.?'£!.£*'**'  n.'/."^,™.'  £"'.  "'&"?'£,. 

with  its  curiously  varied  rhythm,  its  chromatic  melody  and  the  changes  from  minor  to  major 
which  are  so  effective.     With  the  last  note  the  full  band  takes  up  the  rollicking  chorus  of 

street  boys  from  Act  I,  and  after  a  few  measures  there   ,  a  »t        n ^._M_UM'Z1-C>- r~     Ui  a^cE^fcy^g: 

appears  suddenly  the  weird  strain  from  Act  IV  when   \W       *  n  ~^\  '^  "  ^   «  .   1   ji.    Jl'T^T" 
Carmen  hurls  at  Don  Jose  her  last  defiance.  **»  "^    •"•  •—•     "•'  **•      /"—•*- 

The  spirited  introductory  strain  returns,  closing  the  selection. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  B  I  Z  E  T*  S    CARMEN 


16752      lO-inch,     $O.75 


DOUBLE-FACED   AND   MISCELLANEOUS    CARMEN   RECORDS— Continued 

Gems  from  Carmen 

Chorus,  "  Here  They  Are  " — Solo  and  Chorus,  "  Habanera  "  (Love  is  Like 
a  Bird) — Duet,  "  Again  He  Sees  His  Village  Home  " — Sextette,  "  Our  Chosen 
Trade  " — Solo  and  Chorus,  "  Toreador  Song  " — Finale. 

By  Victor  Light  Opera  Company      (In  English)     31843     12-inch,     si.oo 
An  amazing  number  of  the  most  popular  bits  of  Bizet's  masterpiece  have  been  crowded 
into  this  attractively  arranged  potpourri. 

(Habanera     (Whistling)  By  Guido  Gialdim  I 

\     The  Pretty  Maiden     (Xylophone)  By  Peter  Lewin} 

I  Toreador  Song  By  Alan  Turner,  Baritone     (In  English)  | 

Trooatore— Tempest  of  the  Heart  [  16521      lO-inch,          .75 

By  jllan  Turner,  Baritone      (In  English)] 

/Prelude  (Overture)  By  La  Scala  Orchestrai,  sne.  .     . 

1     Damnation  of  Faust— Hungarian  March  By  Sousa  's  Band] 68°52      12-inch-        l-25 

[Prelude  (Overture)  By  La  Scala  Orchestra) 

I Scena  delle  carte  (Card  Song)     By  Lavin  de  Casas,  Mezzo-   V62617     lO-inch,         .75 
Soprano     (Piano  ace.)      (In  Italian)} 

f  Canzone  del  Toreador  (Toreador  Song)    By  F.  Cigada,  Bari-    1 

tone:  G.  Huguet,  Soprano;  I.  Salvador,  Mezzo-Soprano;    L,,Aia     lf»-     u  -- 

La  Scala  Chorus  ( [In  Italian)   62618      1O-'nch<         -75 

[     Cavalleria  Rusticana — Intermezzo  By  Pryor's  Orchestra) 

(Intermezzo — Acto  III,  Aragonaise  La  Scala  Orchestra, Milan 

•ISe  tu  m'ami   (If  You  Love  Me)     By  Inez  Salvador,  Mezzo- 
Soprano:  F.  Cigada,  Baritone  (In  Italian) 

f Je  suis  Escamillo  (I  Am  Escamillo!)    By  Leon  Beyle,  Tenor;  | 

\         Hector  Dufranne,  Baritone  (In  French)  [&275O     lO-inch,         .75 

I     Valse  des  looses  (Metro)  By  Mile.  Lucette  Korsoff,  Soprano  (French)  J 

(Preludio.  Acto  IV  By  La  Scala  Orchestral 

\     Norma—Mira  o  Norma—By  Ida  Qiacomelli,  Soprano;  Una  Mileri,    ^62 1 0 1      1 0-inch,         . 7 5 

I          Contralto  (In  Italian)] 

/Carmen  Selection     (Xylophone)  By  Wm.  Reitzi .  , 

I     Bohlme—Musetta  Waltz    (Whistling)  D-    ^  !j-  ^ -'->-•-•  fl° 


By  Guido  Cialdini] 


62102      10-inch,         .75 


lO-inch,          .75 


CAVALLERIA'RUSTICANA 

(Kah-vahl-lay-ree'-ah  Roos-tee  kah'-nah) 

RUSTIC  'CHIVALRY 

OPERA  IN  ONE  ACT 

Libretto  adapted  from  the  book  of  Verga  by  Targioni-Torzetti  and  Menasci ;  music  by 
Mascagni.  First  production  in  Rome,  May  17,  1890.  First  London  production  at  the 
Shaftesbury  Theatre,  1891.  First  American  production  in  Philadelphia,  1891. 


Cast 

SANTUZZA,   (San-loot' -zah)  a  village  girl .  .  . 

LOLA,  (Lou/ -/a/,)  wife  of    Alfio 

TURIDDU,  (Too-ree  -doo)  a  young  soldier 

ALFIO,  (Af-fee-oh)  a    teamster 

LUCIA,  (Loo-chee -ah)  mother  of  Turiddu 


Soprano 

.  .  .  Mezzo-Soprano 

Tenor 

Baritone 

.  .  .Contralto 


Chorus  of  Peasants  and  Villagers.     Chorus  behind  the  scenes. 
The  scene  is  laid  in  a  Sicilian  village.      Time,    the  present. 

THE  COMPOSER 

Pietro  Mascagni,  son  or  a  baker  in  Leghorn,  was  born  December  7,  1863.  Destined  by 
his  father  to  succeed  him  in  business,  the  young  man  rebelled,  and  secretly  entered  the 
Cherubini  Conservatory.  He  began  composing  at  an  early  age,  but  none  of  his  works  at- 
tracted attention  until  1890,  when  he  entered  a  contest  planned  by  Sonzogno,  the  Milan 
publisher.  Securing  a  libretto  based  on  a  simple  Sicilian  tale  by  Verga,  he  composed  the 
whole  of  this  opera  in  eight  days,  producing  a  work  full  of  dramatic  fire  and  rich  in  Italian 
melody,  and  easily  won  the  prize.  Produced  in  Rome  in  1890,  it  created  a  sensation,  and  in 

NOTE— The  quotation,  from  Cavalleria  Rusticana  are  gioen  by  kind  permission  of  G.  Schirmer.  (Copy't  1891.) 

01 


VICTOR   BOOK   OF   THE    OPERA— CAVALLERI A   RUSTICANA 


a  short  time    has    become    one    of    the    most    popular    of 
operas.  THE  STORY 

Turiddu,  a  young  Sicilian  peasant,  returns  from  the 
war  and  finds  his  sweetheart,  Lola,  has  wedded  Alfio, 
a  carter.  For  consolation  he  pays  court  to  Santuzza,  who 
loves  him  not  wisely  but  too  well.  Tiring  of  her,  he  turns 
again  to  Lola,  who  seems  to  encourage  him. 

Prelude 

By  La  Scala  Orchestra     *35104     12-inch,  $1.25 
By  Vessella's   Italian  Band 

31831      12-inch,     l.OO 

The  Prelude  takes  the  form  of  a  fantasia  on  the 
principal  themes  of  the  opera.  Mascagni's  lovely  melodies 
are  played  with  exquisite  tone  and  expression,  while  at 
the  climaxes  the  entry  of  the  brass  is  most  artistically 
managed.  This  is  band  playing  of  a  high  order,  and 
certainly  the  best  record  of  the  Prelude  we  have  heard.  The 
La  Scale  Orchestra  record  is  also  a  most  interesting  one. 

During  the  prelude  Turiddu 's  voice  is  heard  in  the  charm- 
ing Siciliana,  in  which  he  tells  of  his  love  for  Lola  : 


Siciliana     (Thy  Lips  Like  Crimson  Berries) 

By  Enrico  Caruso,  Tenor     (Harp  ace.)  (In  Italian)     87O72 

By  Enrico  Caruso,  Tenor     (Piano  ace.)  (In  Italian)     81O3O 

By  George  Hamlin,  Tenor     (Harp  ace.)  (In  Italian)     64387 

By  Leo  Slezak,  Tenor  (In  German)    612O2 

By  Carlo  Caffetto,  Tenor     (Piano  ace.)  (In  Italian)   * 62 620 

It  is  sung  behind  the  scenes,  before  the  rise  of  the  cur- 
tain, making  it  peculiarly  effective.  At  the  close  of  the 
number  Turiddu 's  voice  is  heard  dying  away  in  the  distance. 
This  decrescendo  passage  is  exquisitely  sung  by  Caruso.  This 
delightful  serenade,  one  of  the  most  popular  of  the 
Caruso  records,  is  almost  the  only  bright  spot  in  Mascagni's 
passionate  and  tragic  operatic  melodrama. 

The  best  of  the  many  translations  (Schirmer  Edition, 
copy't  1891)  is  given  here. 


10-inch,  $2.OO 
lO-inch,  2.0O 
lO-inch,  l.OO 
10-inch,  1.00 
10-inch,  .75 


like  crimson  berries, 
w    of    love    deepening 


TURIDDU: 

O  Lola,  with  thy  lip 
Eyes    with    the    gl 

them, 

Cheeks  of  the  hue  of  wild,  blossoming  cherries, 
Fortunate    he    who    first   finds    favor    to    win 
them  ; 

Yet    tho'    I    died    and    found    Heav'n    on    me 

beaming, 

Wert    thou    not    there    to    greet    me,    grief    I 
should  cherish! 

Fine  renditions  in  German  by  Slezak  and  in  Italian  by 
Hamlin  and  Caffetto  are  also  listed. 

SCENE—  A  Square  in  a  Sicilian  Village 

After  the  Siciliana  the  chorus  of  villagers  is  heard, 
also  behind  the  scenes,  and  during  this  chorus  the  curtain 
rises,  showing  a  square  in  the  village,  with  the  church 
at  one  side  and  the  cottage  of  Turiddu's  mother  on  the  other. 

*Douole-Faccd  Record—  For  title  of  opposite  side  see  double-faced  list,  page  66. 

62 


TAMAGNO  AS  TURIDDU 


VICTOR   BOOK    OF   THE    OPERA— CAVALLERI A    RUSTICANA 


Gli  aranci  olezzano  (Blossoms  of  Oranges) 

By  New  York  Grand  Opera  Chorus  (In  Italian)       64O48     10-inch,  $1.OO 

By  La  Scala  Chorus  (In  Italian)     *68218      12-inch,     1.25 

This  beautiful  chorus  is  rendered  here  both  by  the  famous 
organization  of  La  Scala,  Milan,  and  the  New  York  Grand 
Opera  Chorus. 

It  is  Easter  Day  and  crowds  of  villagers  cross  the  stage  and 
enter  the  church.  Santuzza  enters,  and  knocking  at  Lucia's 
door,  asks  her  if  she  has  seen  Turiddu.  His  mother  replies 
that  he  is  at  Francofonte,  but  the  jealous  girl  refuses  to  believe 
it,  and  suspects  that  he  is  watching  for  Lola. 

The  cracking  of  a  whip  and  shouts  of  the  villagers 
announce  Alfio,  who  appears  and  sings  a  merry  song. 

II  cavallo  scalpita  (Gayly  Moves  the 
Tramping  Horse) 

By  Pasquale  Amato,  Baritono 

(with  Metropolitan  Opera  Cho.)     (In  Italian} 

87O9Z      lO-inch  $2.OO 
By  Renzo  Minolfi,  Baritone 

(In  Italian)     *45O03      10-inch,      1.00 

He  is  happy  and  free,  his  wife  Lola  loves  him  and  guards 
his  home  while  he  is  gone — this  is  the  burden  of  his  air. 

The  peasants  disperse  and  Alfio  is  left  with  Lucia  and 
Santuzza.  When  he  says  he  has  just  seen  Turiddu,  Lucia  is 
surprised,  but  at  a  gesture  from  Santuzza  she  keeps  silent. 

After  Alfio  has  entered  the  church,  the  Easter  music  is 
heard  within  and  all  kneel  and  join  in  the  singing. 


Regina  Coeli  (Queen  of  the  Heavens) 


By  La  Scala  Chorus  (In  Italian)    *68218     12-inch,  $1.25 

This  great  number,  given  by  La  Scala  Chorus,  has  been  combined  with  the  opening 
chorus  noted  above  on  one  double-faced  record. 

All  go  into  the  church  except  Lucia  and  Santuzza,  and  the  agitated  girl  now  sings  her 
touching  romanza,  beginning: 


as  she  pours  out  her  sad  history  to  the  sympathetic  Mamma  Lucia.     This  is  one  of  the  most 
powerful  numbers  in  Mascagni's  work. 

Voi  lo  sapete   (Well  You  Know,  Good  Mother) 

By  Margarete  Matzenauer,  Soprano  (In  Italian)     88430     12-inch,  $3.00 

By  Emma  Calve,  Soprano  (In  Italian)     88O86      12-inch,     3.OO 

By  Emma  Eames,  Soprano  (In  Italian)     88O37     12-inch,     3.OO 

Stung  with  the  remembrance  of  her  great  wrong  she  sings  of  vengeance,  but  love  over- 
powers revenge,  and  in  spite  of  herself,  she  cries 


*  Double-Faced  Record— For  title  of  opposite  aid:  see  double-faced  list,  page  66. 

63 


VICTOR    BOOK    OF    THE    OPERA— CAVALLERI A    RUSTICANA 

Then  the  thought  of  her  rival,  Lola,  returns  and  she  gives  way  to  despair,  throwing  herself 
at  the  feet  of  the  gentle  mother  of  Turiddu,  who  is  powerless  to  aid  her  and  who  can  only 
pray  for  the  wretched  woman. 

SANTUZZA: 

Well   do  you   know,   good  mother, 
Ere  to  the  war  he  departed 
Turiddu   plighted  to   Lola  his   troth, 
Like  a  man   true-hearted. 
And   then,    finding   her   wedded 
Loved   me! — I    loved   him! — 
She,  coveting  what  was  my  only  treasure — 
Enticed  him   from  me! 
She  and  Turiddu  love  again! 
I   weep  and  I   weep  and  I   weep  still! 

Three  fine  renditions  of  this  dramatic  number,  by  three  famous 
sopranos,  are  offered  to  music  lovers. 

Lucia  tries  to  comfort  her  and  passes  into  the  church  just  as 
Turiddu  appears.  He  asks  Santuzza  why  she  does  not  go  to  mass. 
She  says  she  cannot,  and  accuses  him  of  treachery,  which  puts  him 
in  a  rage,  and  he  tells  her  brutally  that  she  is  now  nothing  to  him. 

Tu  qui  Santuzza  (Thou  Here,  Santuzza!) 

By  B.  Besalu,  Soprano,  and  G.  Ciccolini,  Tenor 

(In  Italian)    *55O22      12-inch,  $1.5O 

No,  No,  Turiddu 

By  Besalu  and  Ciccolini    (Italian)    *55O22     12-in.,    1.5O 
This  scene  is  now  interrupted  by  Lola 's  voice,  heard  behind 
the  scenes. 


None  like  to  him  so  bright 
That    land    discloses, 
My  king  of  roses! — 


LOLA   (behind  the  scenes)  : 
My   king   of   roses, 
Radiant  angels  stand 
In  Heav'n  in  thousands; 

She  enters,  and  divining  the  situation,  shows  her  power  by  taking  Turiddu  into  the 
church  with  her.  Frantic  with  jealousy,  Santuzza  turns  to  Alfio,  who  now  enters,  and  tells 
him  that  his  •wife  is  false.  Two  records  are  required  to  present  this  powerful  scene. 

Turiddu  mi  tolse  (Turiddu 
Forsakes  Me !) 

By  B.  Besalu  and  E.  Badini 

(In  Italian)     *55021      12-inch,  $1.5O 
By   Clara    Joanna,    Soprano,    and 
Renzo  Minolfi,  Baritone 

(In  Italian)     *450O2      10-inch.     l.OO 

Ad  essi  io  non  perdono  CTis  They 
Who  Are  Shameful) 

By  Clara  Joanna  and  Renzo  Minolfi 

(In  Italian)  *450O2  10-inch,  $  l.OO 
Alfio  swears  vengeance,  while  Santuzza  already 
regrets  her  disclosure,  but  is  powerless  to  prevent 
the  consequences  of  her  revelation.  They  go  out, 
leaving  the  stage  empty,  and  the  beautiful  Inter- 
mezzo follows. 

Intermezzo 

By  Victor  Herbert's  Orchestra 

6OO74   10-in.,  $0.75 

Pryor's  Orchestra  *62618   lO-in..       .75 

Victor  Orchestra       4184   10-in.,       .60 

The  instantaneous  popularity  of  this  selection 

was  remarkable,  and  in  no  small  measure  helped 

to  make  Caoalleria  Rusticanathe  tremendous  success  (DESTINN  AND  CARUSO) 

that  it  was.    These  records  bring  out  the  beautiful  melody— the  harp  lending  a  lovely  back- 
ground of  peaceful  harmony— and  makes  the  Intermezzo  a  tone  picture  of  exquisite  coloring. 
*  Double-Face  J  Record— For  title  of  opposite  side  see  double-faced  list,  page  66. 

64 


VICTOR    BOOK    OF    THE    OPERA— CAVALLERI A     RUSTICANA 


After  the  storm  and  passion  of  the  first  scene,  this  lovely  number  comes  as  a  blessed  relief. 
The  curtain  does  not  fall  during  the  playing  of  the  Intermezzo,  although  the  stage  is  empty. 

PART  II 
A  casa,  a  casa  (Now  Homeward) 

By  La  Scala  Chorus  (In  Italian)      *45O14      lO-inch,  $1.0O 

The  services  being  over,  the  people  now  come  from  the  church,  and  Turiddu  in  a  reck- 
less mood  invites  the  crowd  to  drink  with  him,  and  sings  his  spirited  Brindisi. 

Brindisi  (Drinking  Song) 

By  Enrico  Caruso,  Tenor  (In  Italian)       81O62     lO-inch,  $2.00 

By  George  Hamlin,  Tenor  (In  Italian)       64245      10-inch,     l.OO 

In  striking  contrast  to  the  prevailing  tragic  tone  of  Mascagni's  opera  comes  this  merry 

drinking    song,  which    Turiddu    sings  as 

gaily  as  if  he  had  not  a  care  in  the  world, 

although  at  that  moment  the  culminating 

tragedy  of  the  duel  was  close  at  hand. 

Turiddu  calls  to  the  crowd  about  the  inn : 

then  sings  the 
Brindisi,  which 
has  a  most  fas- 
cinating swing: 

TURIDDU: 

I  fail   the   red   wine   richly   flowing, 
In  the  beaker,   sparkling,   glowing, 
Like   young   love,   with   smiles  bestowing, 
Now   our   holiday   'twill  bless. 

Alfio  now  enters,  and  when  Turiddu  offers  him  a  cup  refuses,  saying: 
Thank  you!        Poison    I   might  be   drinking. 
Turiddu  throws  out  the  wine,  saying  carelessly : 

Very  well!   suit  your  pleasure! 

The  seriousness  of  this  scene  is  not  lost  on  the  peasants,  who  now  leave  the  young 
men  together.  The  challenge  is  quickly  given  and  accepted  after  the  Sicilian  fashion, 
Turiddu  viciously  biting  Alfio's  ear,  and  they  arrange  to  meet  in  the  garden. 

Turiddu  now  calls  his  mother  from  the  cottage,  and  asks  for  her  blessing,  bidding  her, 
if  he  does  not  return,  to  be  a  mother  to  Santuzza. 

Addio  alia  madre  (Turiddu' s  Farewell  to  His  Mother) 


Hail  the   wine  that   flows  and  bubbles, 
Kills  care,  banishes  all  troubles, 
Brings  peace,   pleasure   it   redoubles, 
Causes    sweet   forgetfulness! 


By  Riccardo  Martin,  Tenor 
By  Gennaro  de  Tura,  Tenor 
By  G.  Ciccolini,  Tenor 
By  Giorgio  Malesci,  Tenor     (Pi 


.TURIDDU    (calling):    Mothe 
»>  ( 

Exciting 


(Enter    Lu 


.) 

ely    that    wine    was. 
I   must   have  taken 
Too    many    cups 
While  we  were  drinking! 
For  a  stroll   I   am   going, 
But  first,   I   pray  you, 
Give  your   son   your  blessing 
As    when    I    left    you 
To    become    a    soldier! 
If  I   return  not,  you  must  not  falter 


(In  Italian)       88277     12-inch,  $3.0O 

(In  Italian)       76015      12-inch,     2.00 

(In  Italian)     *55021      12-inch,     1.5O 

ace.)  (In  Italian)     *62620      10-inch,       .75 

To    Santuzza   be   a   mother! 

I   have   sworn   to   shield   her 

And  lead   her   to   the  altar. 
LUCIA: 

Why    speakest   thou    so    strangely? 

My   son,   oh,   tell   me? 
TURIDDU    (nonchalantly): 

Oh,   nothing!   the  wine 

Has  filled   my   brain   with   vapors! 

O   pray  that  God   forgive  me! 

One   kiss,    dear    mother! 

And  yet  another!     (He  rushes  off.) 


Finale  to  the  Opera 

By  Clara  Joanna,  Soprano  ;  Sra.  Rumbelli,  Mezzo-Soprano  ; 

and  Chorus  (In  Italian)  *45OO3   10-inch,  H.OO 

Lucia  is  distressed  and  bewildered,  and  calls  after  him  despairingly.  Confused  cries  are 
now  heard  and  a  woman  screams  "  Turiddu  is  murdered  I "  Sanluzza  and  Lucia  sink  down 
senseless,  and  the  curtain  slowly  falls. 

*  Double-Faced  Record—  For  title  of  opposite  side  see  double-faced  list,  page  66. 

65 


VICTOR    BOOK    OF    THE    OPERA— CAVALLERI A    RUSTICANA 


DOUBLE-FACED  AND  MISCELLANEOUS  CAVALLERIA 
Selection— Part  I  By  Victor  Orchestra  31O57 

Selection— Part  II  By  Victor  Orchestra  31O58 

Gems  from  "  Cavalleria  Rusticana  " 

"  Blossoms  of  Oranges  " — "Alfio's  Song  " — Lola's  Ditty,  "  My  King 
— "  Santuzza's  Aria  " — "  Drinking  Song  " — "  Easter  Chorus  " 

By  Victor  Opera  Company     (In  English)     31874 
[Turiddu,  mi  tolse  (Turiddu  Forsakes  Me  !)     By 
I      B.  Besalu,  Soprano,  and  E.  Badini,  Baritone  (In  Italian) 

|  Mamma,  quel  vino  e  generoso  (Mother  !  the  "Wine 
[     Cup  too  Freely  Passes)  By  G.  Coccolini,  Tenor     (In  Italian) 
(Tu  qui  Santuzza  (Thou,  Santuzza)        By  Besalu  and  Ciccolini 
\No,  No,  Turiddu  By  Besalu  and  Ciccolini      (In  Italian) 

(Prelude  By  La  Scala  Orchestral,,..     . 

(Selection    ("Alfio's  Song."  "Easter  Chorale,"  "Intermezzo")    Pryor'sBj          °4 
(Coro  d'  Introduzione  By  La  Scala  Chorus     (In  Italian) 

\Regina  Coeli  By  La  Scala  Chorus     (In  Italian) 

I  Turiddu,  mi  tolse  1'onore  (Turiddu  Forsakes  Me !) 
By  Clara  Joanna  and  Renzo  Minolfi     (In  Italian) 
Ad  essi  io  non  perdono — By  Joanna  and  Minolfi      (In  Italian) 
I  Finale  dell'  Opera — By  Clara  Joanna,  Soprano;   Sra. 
<      Rumbelli,  Mezzo-Soprano ;  and  La  Scala  Chorus  (In  Italian)  }45003 
ill  cavallo  scalpita  By  Renzo  Minolfi,  Baritone     (In  Italian) 

(A  casa,  a  casa  (Now  Homeward  !)  La  Scala  Chorus  (Italian) 
\  Guglielmo  Ratcliff— Padre  Nosiro  Mussini  and  Molinari  (Italian), 
Intermezzo  By  Pry  or 's  Orchestra] 

Carmen —  Toreador     (Bizet)  [62618 

By  Cigada,  Huguet,  Salvador  and  Chorus     (In  Italian)  \ 
Addio  alia  madre  (Piano  ace.)  By  Giorgio  Malesci,  Tenor\ 

Siciliana  (Piano  ace.)  By  Carlo  Caffetto,  Tenor] 


RECORDS 
12-inch,  $1.OO 
12-inch,      l.OO 

of  Roses  " 
12-inch,     l.OO 


55021      12-inch,     1.5O 


12-inch,  1.50 
12-inch,  1.25 
12-inch,  1.25 


68218 


45002     10-inch,     l.OO 


45014 


6262O 


10-inch,  1.00 

10-inch,  1.00 

10-inch,  .75 

10-inch,  .75 


Destinn        Gatti-Cazza/a      Martin 
Homer 


GO 


LES  CLOCHES  DE  CORNEVILLE 

(English) 

THE  CHIMES  OF  NORMANDY 

COMIC  OPERA  IN  THREE  ACTS 

Text  by  Clairville  and  Gabet ;  music  by  Robert  Planquette.      First  produced  at  the  Folies 
Dramatiques,  Paris,  April  19,  1877.     First  N.  Y.  production  at  the  5th  Avenue  Theatre,  1877. 


Characters 

HENRI,  the  Marquis  of  Valleroi .... 
GRENICHEUX,  a  young  villager  .... 

GASPARD,  a  miser 

SERPOLETTE,  the  good-for-nothing . 
GERMAINE,  the  lost  Marchioness    .  . 

SHERIFF... 


Baritone 

Tenor 

Bass 

Soprano 

.  Mezzo-Soprano 


Time  and  Place  :  Normandy ;   lime  of  Louis  XV. 


The  Chimes  of  Normandy  abounds  in  striking  numbers, 
and  the  music  is  full  of  gayety  and  French  grace.  It  has  had 
no  less  than  six  thousand  performances,  a  testimony  to  its 
enduring  place  in  popular  appreciation. 

The  opera  opens  in  an  old  Norman  village,  •where  a  fair  is 
in  progress.  Henri,  the  Marquis  of  Valleroi,  has  just  returned 
to  his  native  town  after  an  absence  of  many  years.  The 
village  gossips  are  discussing  with  vehemence  scandals  about 
Serpolette,  the  village  good-for-nothing,  who  arrives  just  in 
time  to  vindicate  herself  by  turning  the  tables  on  her  traducers.  Gaspard,  the  miser,  has  a 
plan  for  marrying  his  niece,  Germaine,  to  the  sheriff,  but  the  young  girl  objects,  telling  him 
that  if  she  must  wed  she  feels  it  her  duty  to  marry  Grenicheux,  a  young  villager,  in  gratitude 
for  his  saving  her  life.  To  escape  the  marriage,  which  is  distasteful  to  both  Germaine  and 
Grenicheux,  and  to  fly  from  the  vengeance  of  Gaspard  and  the  sheriff,  she  and  Grenicheux  take 
advantage  of  the  privileges  of  fair  time  and  become  servants  of  the  Marquis. 

In  the  second  act  ths  ghosts  are  reported  to  be  roaming  the  Castle  of  Valleroi.  The 
Marquis  does  not  credit  these  stories  and  soon  discovers  it  is  only  old  Gaspard,  the  miser, 
who,  when  found  out,  goes  crazy  through  fear  of  losing  the  treasures  he  has  concealed 
there.  In  the  last  act  the  castle  is  restored  to  its  former  splendor  and  the  Marquis  is  giving 
a  fete  to  which  he  invites  all  the  villagers,  including  the  crazy  Gaspard.  Serpolelte  is  there  as 
a  fine  lady  with  Grenicheux  as  her  factotum.  After  a  love  scene  between  the  Marquis  and 
Germaine,  it  is  discovered  that  the  latter  is  the  rightful  heiress  and  true  claimant  to  the  title 
of  Marchioness.  The  story  comes  to  a  fitting  conclusion  with  the  betrothal  of  the  Marquis  and 
Germaine,  over  •whom  the  bells  of  Corneville  ring  out  sweetly  and  gladly  to  tell  the  happy  news. 
The  Victor  offers  three  band  records  of  the  principal  airs,  and  an  unusually  effective 
sslection  of  five  of  the  most  popular  numbers  in  the  opera  by  the  Victor  Light  Opera  Company. 

Gems  from  **  Chimes  of  Normandy  " 

Chorus,  "Silent  Heroes" — "Just  Look  at  This,  Just  Look  at  That" — "Cold 
Sweat  is  on  My  Brow"— "That  Night  I'll  Ne'er  Forget"— "Bell  Chorus" — Finale. 
By  the  Victor  Light  Opera  Company  31788  12-inch,  $1.OO 

Selection  of  the  Principal  Airs 

By  Sousa's  Band 

(Selection  of  the  Principal  Airs  By  Sousa's  Band) 

\     Naila  Intermezzo     (Pas  des  Fleurs) 


/Selection  of  the  Principal  Airs 

\     Poet  and  Peasant  Overture      ( von  Suppe) 


By  Pryor's  Band  I 
By  Pryor's  Band\ 
By  Pryor's  Bandj 


35134 


12-inch, 
12-inch, 


1  00 
1.25 


16385      12-inch,       .75 


LA  DAMNATION  DE  FAUST 

(Lah  Dan-nah-see-on'  deh  Fowst) 
(English) 

DAMNATION  OF  FAUST 

Hector  Berlioz's  dramatic  legend  in  four  parts ;  book  based  on  de  Nerval's  version  of 
Goethe's  poem,  partly  by  Gandonniere,  but  completed  by  Berlioz  himself.  First  performed 
December  6,  1846,  at  the  Opera  Comique,  Paris,  in  concert  form,  and  in  New  York  under 
Dr.  Leopold  Damrosch  in  1880.  It  was  given  at  Monte  Carlo  as  an  opera  in  1903.  First 
American  performance  of  the  operatic  version  in  New  York,  1908. 


MARGUERITE   (Mahr-guer-eet)     

FAUST  (FOUJS/) 

MEPHISTOPHELES  (Me/-.«-/o/ -*/./<**) 
BRANDER . . 


Soprano 

Tenor 

.Baritone  or  Bass 
.  .  Bass 


A  Ger 


village. 


THE  COMPOSER 

No  one  to-day  doubts  the  genius  of  Berlioz,  and  critics  are  almost  unanimous  in  praising 
his  originality,  his  spontaneous  force  and  immense  creative  power.  Le  Damnation  de  Faust, 
his  best  known  work,  originally  written  as  an  oratorio,  but  which  has  since  been  adapted 
for  the  stage,  was  first  produced  in  1846  and  met  with  a  cold  reception.  Ten  years  after 
his  death,  however,  what  a  change  began!  A  Berlioz  memorial  in  Paris,  at  the  Hippodrome, 
where  thousands  were  turned  away;  Berlioz  monuments  erected  in  Grenoble  and  other 
cities  of  France  ;  and  finally,  the  production  of  Damnation  of  Faust  as  an  opera  at  Monte  Carlo 
in  1903,  amid  scenes  of  the  wildest  enthusiasm. 


VICTOR      BOOK      OF      THE      O  P  E  R  A  —  B  E  RL  I  O  Z  '  S      FAUST 


rhich   have    been 


In  his  "  Faust  "  Berlioz  has 
given  us  a  musical  legend  which 
has  all  the  picturesqueness  of 
the  original  work. 

Whatever  severe  critics  may 
say  of  its  merits  in  the  highest 
artistic  sense,  it  is  nevertheless 
a  wonderful  work.  Strange 
eccentricities  and  rare  beauties 
are  found  side  by  side ;  even 
the  -wild  orgie  of  fiends  called 
"  Pandemonium,"  which  almost 
transgresses  the  license  of  genius, 
must  be  admired  for  its  astound- 
ing orchestral  effects.  On  the 
other  hand,  there  are  melodies 
of  purest  beauty,  such  as  the 
numbers  for  Marguerite.  How- 
ever, the  most  striking  numbers 

in  the  opera  are  those   •written   by    Berlioz   for  Mephistopheles,    three   of 
most  effectively  rendered  for  the  Victor  by  Plancon. 

THE  OPERA 

Berlioz,  disregarding  Goethe's  poem,  located  the  opening  scene  on  a  plain  in  Hungary 
simply  to  excuse  the  interpolation  of  the  Rakoczy  March.  We  quote  Berlioz  himself 
here :  "  The  march  on  the  Hungarian  Rakoczy  theme,  written  one  night  at  Vienna, 
made  such  a  sensation  at  Pesth  that  I  introduced  it  into  my  Faust  score,  taking  the  liberty  of 
putting  my  hero  in  Hungary  and  making  him  witness  the  passage  of  a  Hungarian  troop 
across  the  plain  where  he  is  wandering  in  reverie."  But  Raoul  Gunsbourg,  who  adapted 
the  cantata  for  the  stage,  changed  the  first  scene  to  a  room  with  open  windows  showing  the 
peasants  dancing  and  the  military  passing  by  to  the  strains  of  the  Hungarian  March.  Here 
Faust  soliloquizes  on  the  vanity  of  all  things,  while  the  people  make  merry  outside,  and  the 
march  of  the  soldiers  makes  an  inspiring  finish  to  the  scene. 

Hungarian  (Rakoczy)  March 

BySousa'sBand  (Double-faced,  see  p.  7 1)  68052  12-in.,  $1.25 
By  Sousa's  Band  31424  12-in.,  l.OO 

This  is  Berlioz's  treatment  of  the  famous  "Rakoczy  March," 
known  as  a  national  Hungarian  melody  for  a  hundred  years.  Its 
stirring  measures  so  fascinated  the  composer  that,  contrary  to  his 
original  intention,  he  laid  the  scene  of  his  "  Faust  "  legend  in  Hungary 
in  order  that  he  might  make  use  of  this  wild  and  pulse-quickening 
melody.  His  treatment  of  it  is  brilliant  in  the  extreme,  and  it 
remains  one  of  the  most  effective  portions  of  his  "  Faust." 

In  this  connection  it  is  interesting  to  remember  that  Liszt, 
although  a  warm  friend  of  Berlioz,  considered  himself  aggrieved 
and  wrote  to  Mme.  Tardieu  in  1882:  "My  transcription  of  the 
Rakoczy  March  *  *  is  twice  as  long  as  the  well-known  version 
of  Berlioz,  and  it  was  written  before  his.  Delicate  sentiments  of 
friendship  for  the  illustrious  Frenchman  induced  me  to  withhold  it 
from  publication  until  after  his  death.  *  *  *  In  writing  it  he 
made  use  of  one  of  my  earlier  transcriptions,  particularly  in  the 
harmony." 

Scene  II  shows  Faust  alone  in  his  study,  as  in  the  Gounod 
version.  He  is  about  to  take  poison,  -when  the  strains  of  the 
Easter  hymn  come  from  the  adjoining  church  and  arrest  his  purpose. 
Mephistopheles  then  appears  and  suggests  that  they  go  forth  and 
see  the  world  together,  to  which  Faust  consents. 

In  the  third  scene  Faust  and  Mephistopheles  go  to  a  beer  cellar  in 
Leipsic,  where  students  and  soldiers  are  carousing.  Brander  sings 

i^^n^Lfo    .^iniKi.N',     Lun-  _          r  I    .     1  x->  1 

CEPTION  OF  MEPHISTO         his   song   of  the  rat,  which  as  in   the    Gounod    opera,  meets  witn 


UU  S    STRIKING    CON- 


VICTOR      BOOK      OF      THE      O  P  E  R  A  —  B  E  R  L  I  O  Z 'S      FAUST 


but  ironical  praise  from  Mephistopheles,  and  he  volunteers  his  famous  "  Romance 
of  the  Flea,"  a  curiosity  of  music  as  effective  as  it  is  difficult 
to  render. 

Chanson  de  la  puce     (Song  of  the  Flea) 

By  Pol  Plan?on,  Bass 

(In  French)     81O87      lO-inch,  $2.00 

Gounod's  Mephistopheles  is  mild  and  innocent  by  the  side 
of  the  strange  utterances  of  the  Devil  as  portrayed  by  Berlioz. 
This  is  one  of  the  most  interesting  numbers  in  the 
work,  for  Berlioz  has  described,  by  means  of  clever  forms 
in  the  accompaniment,  the  skipping  of  the  flea  in  various 
directions.  The  words  are  most  fantastic — 

Once  a  king,   be   it   noted,   had  a   fine   and   lusty   flea, 
And  on  this  flea  he  doted,  cherish'd  him  tenderly, 
ailpr,  and  to  the  tailor  spake: 


So  he  sent  fc 

make!" 

In  velvet  and  in  satin 
He  now  was  duly   drest 
Had  jewels  rare  his  hat  in. 
And  medals  deck'd  his  breast! 


Faust  dislikes  the  scene,  and   the   two   vanish  from   the 
gaze  of  the  astonished  students  amid  a  fiery  glow. 

Voici  des  roses     ('Mid  Banks  of  Roses) 

By  Mattio  Battistini,  Baritone 

(In  Italian)      92O23      12-inch,     $3.00 
We  next  discover  Faust  asleep  in  a  lonely  forest  on   the  banks   of   the  Elbe,  where   the 
demon   murmurs  a  softly  penetrating  melody  into  his  ear,  lulling  him  to  slumber  with  these 
seductive  words  — 

'Mid  banks  of  roses,   softly  the  light  reposes, 
On  this  fair,  fragrant  bed,  rest,  O  Faust,  rest  thy  head- 
Here  slumber,  while  lovely  visions  haunt  thy  dream 
Of  radiant  forms,  rare  lips  and  eyes  that  fondly  beam! 

while  the  gnomes  and  sylphs  dance  through  his  dreams,  and  the  vision  of  Marguerite  is  seen 
for  the  first  time. 

The   next   scene    corresponds  to  the    Garden  Scene  of  Gounod,   and   shows    a    room 
in     Marguerite  's    cottage. 
The    demon    now  sum- 
mons   the     will  -  o'-  the- 
wisps  in  this  evocation  : 
The  sprites  come  flying  to  Marguerite's  door  to  aid  in  her  enchantment,  and  the   demon 
continues  : 

Ye  spirits  of  raprice  and  of  evil,  conspire 

To  enchant  and  subdue,  and  win  a  maiden  soul. 

Now  dance,  ye  sons  of  Evil,  dance  in  the  name  of  the  devil, 

\\ill-o-the-wisp  and  gnome,  dance,  or  away  you  go! 

Then  follows  the  beautiful  dance  of  the  will-o'-the-wisps,  after  which  Mephistopheles  sings— 

"To    this    lute,    I'll    sing    a    serenade      .      .      . 
One  that  shall   please  the  lady     .... 
It  is  moral,  her  tastes  to  suit!" 


Serenade— Mephistopheles 

By  Pol  Plancon.  Bass  (In  French)     81O34     10-inch.  $2.OO 

Mephistopheles  then  warbles  in  his  scoffing  voice  this  mocking  serenade : 


DH,       M«~.       „»,      „         UU        *>~     •  of  U,  to, „_         ~  i     Jd       i  <*<         *>"        #         «T  tor     -    «; 

in  the  accompaniment  of  which  Berlioz  has  reproduced  the  peculiar  effect  of  the  guitar  by 
pizzicato  crescendos  for  strings. 


70 


VICTOR      BOOK      OF     THE     O  P  E  R  A  —  B  E  R  L  I  O  Z  '  S     FAUST 


Dear    Katharine,    why    to    the 
door  of  thy  lover, 

Drawest    thou    nigh? 
Why  there  timidly  hover?  why 

art  there? 
Oh,     sweet     maiden,     beware; 

come  away  do  not  enter; 
It    were    folly    to   venture. 

Refrain,    nor   enter   there! 

Ah,    heed   thee   well,    fair   lass, 
Lest    thy   lover   betray    thee; 
Then  good  night,   alas! 

From   ill-hap  what  shall   stay 

thee? 
But    let    thy    lover    prove    the 

truth   of   his   advances; 
When     the     ring     brightly 

glances, 
Ah!     then     only,     believe     his 

love! 

Berlioz's   Mephistopheles  is 

BOYEB  FOURTH   ACT  SETTING — DAMNATION  OF   FAUST  a    much    more     sardonic    and 

less  gentlemanly  devil  than  the 

one  we  are  accustomed  to  see  in  Gounod's  opera.     Plancon  interprets  this  difficult  character 
admirably,  and  delivers  this  sneering  serenade  with  great  effectiveness. 

While  the  sprites  dance  Marguerite  apparently  sleeps,  but  soon  comes  from  the  house  in 
a  kind  of  trance.  She  tries  to  enter  the  church,  but  the  influence  of  Mephistopheles  prevents, 
and  she  returns  to  the  house  and  falls  into  the  arms  of  Faust. 

The  last  act  contains  four  scenes.  Scene  I  shows  a  moonlit  room  where  the  unhappy 
Marguerite  sings  her  lament.  This  changes  to  a  rocky  pass  where  Mephistopheles  informs 
Faust  that  Marguerite  is  about  to  be  executed  for  the  murder  of  her  mother.  Faust  demands  that 
she  be  saved,  but  is  first  required  by  Mephistopheles  to  sign  the  fatal  contract  which  pledges 
his  soul  to  the  Devil.  Summoning  the  infernal  steeds  Vortex  and  Giaour,  the  wild  Ride  to 
Hell  commences,  shown  by  a  striking  moving  panorama,  while  at  the  close  the  angels  are 
seen  hovering  above  the  town  to  rescue  the  soul  of  the  pardoned  Marguerite. 


DOUBLE-FACED  DAMNATION  OF  FAUST  RECORDS 


{Hungarian  March 
Carmen — Prelude 


By  Sousa's  Bandl 
By  La  Scala  Orchestra 


12   $1.25 


THE     RIDE     TO     HELL ACT    V 


(English) 

DAUGHTER  OF  THE  REGIMENT 
LA  FILLE  DU*REGIMENT 

(Lah  Fee\>eh  deh  Rezh' -ee-mong  ) 

COMIC  OPERA  IN  TWO  ACTS 

Words  by  Bayard  and  St.  Georges.     Music  by  Donizetti.     First  produced  at  the   Oper> 
Comique,  Paris,  1840;   Berlin,  1842;   London,  1847. 


Characters 


TONIO,  a  peasant  of  Tyrol 

SULPIZIO,  Sergeant  of  the  21st.  .. 
MARIE,  Vivandiere  of  the  21st .  .  .  . 

MARCHIONESS  OF  BERKENFIELD  . 


Tenor 

Bass 

Soprano 

.  .  .Mezzo-Soprano 


The  scene  is  laid  in  the  Swiss  Tyrol. 


Donizetti's  Daughter  is  a  brilliant   little   opera,  with  its  rollicking  songs,   its  drums,   its 
vivacious  heroine  and  its  comic  old  Corporal. 

At  the  beginning  of  the  opera  Marie  is  a  beautiful  girl  of  1 7,  who  had  been  found  on  the 
battlefield  as  an  infant,  and  brought  up  by  Sulpizio  as  the  daughter  of  the  regiment.  Marie 
is  loved  by  Tonio,  a  young  peasant,  who  had  saved  her  life  in  the  Alps  and 
who  follows  the  regiment  to  be  near  her.  The  young  girl  returns  his  affec- 
tion, and  they  decide  to  appeal  to  Sulpizio. 

In  asking  for  Marie's  hand  in  marriage  Tonio's  suit  is  brought  before  the 
regiment,  which  decides  that  he  may  have  the  Vicandiere  providing  he  joins 
the  army,  which  he  promptly  does.  Sulpizio  meets  the  Marchioness  of  Berken- 
field  and  gives  her  a  letter  which  he  had  found  addressed  to  her  at  the  time 
the  baby  Marie  was  found  on  the  battlefield.  The  Marchioness,  who  had 
married  a  French  army  captain  far  beneath  her  own  rank,  immediately  rec- 
ognizes the  young  girl  as  her  daughter.  The  marriage  had  been  a  secret 
one  and  the  child  was  confided  to  her  father's  care  at  her  birth.  Not 
wishing  to  acknowledge  this  marriage  even  now,  the  Marchioness  declares 
Marie  to  be  her  niece,  and  dismisses  Tonio  as  a  totally  unfit  person  to  wed 
a  high-born  maiden.  Marie  assumes  her  proper  position  in  society,  her 
"aunt"  selecting  a  wealthy  Count  as  a  future  husband  for  her.  However, 
in  the  midst  of  all  her  beautiful  surroundings  Marie  continues  to  long  for 
her  sweetheart  Tonio.  Her  mother,  still  pretending  to  be  her  aunt,  endeav- 
ors to  persuade  her  to  give  up  Tonio  and  marry  the  Count,  but  Marie  flatly 
refuses.  In  desperation  the  Marchioness  reveals  herself  as  the  girl's  own 
mother,  and  the  maiden  then  agrees  to  accede  to  her  wishes  and  marry  the 
Count.  Touched  by  Marie's  filial  devotion,  the  Marchioness  consents  to 
allow  her  to  marry  Tonio,  who  in  the  meantime,  through  rapid  promotion, 
has  reached  a  high  rank  in  the  French  army  under  Napoleon. 

The  Victor  offers  three  records  from  this  charming  opera ;  the  first 
being  the  tuneful  Per  vioer  vicino,  the  song  of  the  lover  Tonio.  Mr.  McCormack 
gives  a  spirited  performance  of  this  delightful  Romanza.  Two  splendid 
band  records  are  also  offered — a  Pryor's  Band  rendition  of  the  gay  and 
spirited  Overture  and  a  Vessella  Band  record  of  the  principal  airs  in  the  opera. 

Per  viver  vicino    (To  Be  Near  Her) 

By  John  McCormack,  Tenor  (In  Italian)     74221 


12-inch,     $1.50 


DOUBLE-FACED  DAUGHTER  OF  THE  REGIMENT  RECORDS 
/Overture  By  Pryor's  Band 

\_  Dance  of  the  Serpents     (Boccalari)  By  Pryor's  Band 


12-inch.     $1.25 


Principal  Airs  of  the  Opera 
Fra  Diavolo  Selection     (Auber) 


By  Vessella's  Band\,,1Q1 
By  Vessella's  Band}**1* 

72 


12-inch,        1.25 


DINORAH 

(Din-oh'-rah) 

OPERA  IN  THREE  ACTS 

Libretto  by  Barbier  and  Carre.  Music  by  Giacomo  Meyerbeer.  First  production  Paris, 
1859.  First  London  production,  under  direction  of  Meyerbeer,  July  26,  1859.  First  New 
York  production,  Opera  Comique,  1864,  with  Cordier,  Brignoli  and  Amodio. 


HOEL,  a  goatherd 

CORENTINO,  bag-piper 

DINORAH,  betrothed  to  Hoel .... 

HUNTSMAN  . . 


Cast 


.  .  Tenor 

. Soprano 

.  .  Bass 


Place :  Breton  village  of  Ploermel. 


Although  the  name  of  Meyerbeer  is  usually  as- 
sociated with  Robert  le  Diable,  Prophete  and  Huguenots, 
his  opera,  Pardon  de  Ploermel  (afterwards  revised  and 
renamed  Dinorah),  was  at  one  time  a  favorite  work  with 
opera-lovers. 

The  revival  of  Meyerbeer's  sparkling  opera  during 
the  last  Manhattan  season  was  most  welcome,  not  only 
for  its  tunefulness,  but  because  it  was  an  ideal  medium 
for  the  exhibition  of  Mme.  Tetrazzini's  marvelous  gifts. 
Old  opera-goers  in  America  will  remember  the 
productions  of  the  past — that  arranged  for  Marie  Van 
Zandt  in  1892;  Patti's  famous  performance  a  dozen 
years  before ;  and  the  fine  impersonations  of  Gerster, 
di  Murska  and  Marimon.  But  it  is  safe  to  say  that  no 
exponent  of  the  part  of  the  wandering  Breton  shepherd- 
ess has  ever  excelled  Mme.  Tetrazzini  in  the  role. 

The  plot  is  utterly  absurd — its  demented  goat-girl, 
seeking  a  runaway  lover;  the  lover  himself,  who  con- 
trary to  operatic  precedent  is  a  baritone,  and  who 
spends  a  year  chasing  an  imaginary  treasure;  a  weak- 
kneed  bag-piper.  These  are  the  principal  characters. 

But  in  the  music  Meyerbeer  has  atoned  for  the 
triviality  of  the  libretto,  and  the  audience  listens  to  the 
delightful  melodies  and  pays  little  attention  to  the  plot. 
The  action  is  laid  in  Brittany.  Dinorah,  a  maiden  of  the 
village  of  Ploermel,  is  about  to  be  wedded  to  Hoel,  a  goat-herd,  when  a  storm  destroys 
the  house  of  the  bride's  father.  Hoel  resolves  to  rebuild  it,  and  goes  off  to  seek  treasure 
in  a  haunted  region,  while  Dinorah,  thinking  herself  deserted,  loses  her  reason,  and  wanders 
through  the  country  with  her  faithful  goat,  seeking  the  absent  Hoel. 

Overture 

By  La  Scala  Orchestra  68010     12-inch,  $1.25 

ACT  I 

As  the   curtain   rises,  Dinorah  enters   in   her  bridal  dress,  seeking  her  goat,  and  finding 
the  animal  asleep,  sings  this  lullaby  to  him.     So  lovely  an  air  is  worthy  of  a  better  object. 

Si,  carina  caprettina  (Yes,  My  Beloved  One) 

By  Giuseppina  Huguet,  Soprano  (In  Italian)     *35180      12-inch,  $1.25 

Mme.  Huguet  has  sung  this  pretty  air  with  charming  fluency,  and  the  record  is  one  of 
the  most  attractive  in  her  list.     The  translation  follows: 

Slumber,   darling,   sweetly   slumber,  Perchance   she  has  wandered  on  the   hills 

Sleep,   my  belov'd  one,  sleep!  Amid  the  thorns! 

Soft  the  evening  breeze  is  playing,  Ah  !  wert  thou  to  be  seized  by  the  wolf — fear  not! 

^Neath  the  cooling   shadows   here  I  will  be  there  to  defend  thee — fear  not! 

streamlet,   fresh   and  clear,  Yes,  darling  sleep  in  peace. 


FAURE    AS     HOEL,     1 859 


Swift,   among  the 
Alas!    six  days  has 
Nor   yet    returns! 


Sweet   little 
My  beauteous   c 
Awake  her  not! 


i   your   warbling   cease, 
e   must   sleep. 
Yet  softer  still! 


*Double.Faced  Record—  On  opposite  side  is  the  Mad  Scene  from  Hamlet,  bu  Mme.  Huguet. 

73 


VICTOR    BOOK    OF    THE    OPERA— ME YERBEER'S    DINORAH 

Corentino,  a  bag-piper,  enters  and  is  terrified  at  the  sight  of  Dinorah,  believing  her  to  be 
an  evil  fairy  about  whom  he  had  heard,  who  causes  the  runaway  traveler  to  dance  till  he 
dies.  Dinorah,  in  a  spirit  of  mischief,  makes  him  dance  until  he  is  exhausted,  and  runs 
away  laughing. 

Hoel  enters,  still  seeking  the  treasure,  and  confides  in  Corentino,  telling  him  that  the 
wizard  with  whom  he  had  lived  for  a  year  had  instructed  him  to  seek  for  a  white  goat 
which  would  guide  him  to  the  gold.  The  bell  of  Dinorah's  goat  is  heard,  and  Hoe'l  pursues 
it,  dragging  with  him  the  terrified  Corentino. 

ACT  II 

The  second  act  begins  with  the  famous  shadow  dance,  for  which  Meyerbeer  has 
furnished  some  most  beautiful  music.  Dinorah  enters,  and  seeing  her  shadow  in  the 
moonlight,  imagines  it  is  a  friend  and  sings  and  dances  to  it. 

Ombra  leggiera  (Shadow  Song) 

By  Luisa  Tetrazzini.  Soprano  88298     12-inch,  $3.0O 
By  Maria  Galvany.  Soprano  88222     12-inch,     3.OO 

Light  flitting  shadow,  companion   gay 

Go   not   away! 

Play  here  beside  me,   dark  fears  betide  me 
When  thou  dost  go  far  from   me! 
Ah!   go  not  away,  go  not  away! 

Eacli  coming  morn   I  thee  would  find, 
Ah  prithee  stay  and  dance  with  me! 
If  thou  wilt  stay,  nor  go  avyay, 
Thou  thus  shall   hear  me  sing. 

Know'st  thou  not  that  Hoel  loves  me? 
That  as  his  bride  he  claims  me! 
Love  well  hath  known 
Our   two   hearts   to   unite! 
(A  cloud  passes  orer  the  moon — the  shadow  disappears.) 

This  dance  is  accompanied  by  a  waltz,  which  is  full 
of  the  most  brilliant  vocal  effects,  including  a  florid  cadenza 
for  voice  and  flute,  as  in  Lucia. 

The  act  closes  with  the  rescue  of  Dinorah  by  Hoel  when 
the  bridge,  on  which  she  was  crossing  a  ravine,  gives  away. 

ACT  III 

Act  III  opens  with  the  famous  "Hunter's  Song,"  long  a 
favorite  concert  number. 


Chant  du  Chasseur  (Hunter's  Song) 


TETRAZZIN 


By  Pol  Plancon,  Bass      (Piano  ace. ) 
(In  French]     81O65 


On,  on  to  the  hunt! 

To  follow  the  trace  of  beast  or  bird 

The  day  is  awake, 

The  mist  from  the  lake 

Rising,   passes  over, 


Plays  light  in   the  trees,  . 
Like  a  young,  a  young  and  h 
Hunting  is  jolly,   when  night 


lO-inch,  $2.OO 


.ppy  lover! 


Hoel  enters,  bearing  the  form  of  Dinorah,  who  is  still  senseless.     Thinking  her  dead,  he 
bitterly  reproaches  himself  in  the  great  air,  Sei  vendicala 


When  from  the  tempest  an  asyluirTmy  Dinorah 

sought ; 

Within   these  arms   I   pressed  her;   and   now! 
ah!   heaven.   I'll  not  believe  it  yet! 


Dead! 


(He    anxiously    watches    Dinorah,    who    gradu- 
ally recovers.) 

Great  heaven!  my  pray'r  hath  risen  unto  thee! 
Yes!    she   breathes   again;    her   eyes   she   opens! 
But   why   thus  fixedly  they  gaze  upon   me? 
O   heaven,   I    had   forgotten 
That  grief  of  reason   had  bereft  her! 

now  opens  her  eyes  and  recognizes  Hoel,  her  reason  having  been  restored 
by  the  shock.  The  reunited  lovers  go  to  the  village,  are  greeted  by  their  friends,  and  the 
curtain  tails  on  preparations  for  the  wedding. 


. 

Look   up   again,    dear   angel,    thy   pardon    I    ir 
plore! 


SCENE    FROM    DON    CARLOS 


DON  CARLOS 


(Don  Kahr'-los) 

OPERA  IN  FOUR  ACTS 

Libretto  by  Mery  and  Du  Locle  ;  music  by  Verdi.      First  produced  at  Paris,  March  11, 
1867;   in  London,  at  Her  Majesty's  Theatre,  June  4,  1867. 


Original  Paris  Cast 


PHILIP  II 

DON  CARLOS 

MARQUIS  DE  POSA  .... 
GRAND  INQUISITOR  ... 
ELIZABETH  DE  VALOIS. 
PRINCESS  EPOLJ  . . . 


Obin,  Bass 

Morere,  Tenor 

Faure,  Baritone 

Belval,  Bass 

Sass,  Soprano 

.  Gueymard,  Soprano 


The  libretto  is  based  on  Schiller's  drama  of  Don  Carlos,  and  tells  of  the  erratic  and  morbid 
son  of  Philip  II  of  Spain,  who  was  engaged  to  Elizabeth  of  France,  but  subsequently  became 
her  stepson.  The  conduct  of  Don  Carlos  finally  became  so  scandalous  that  his  father 
placed  him  under  arrest  and  confined  him  in  the  Madrid  prison,  where  he  died  in  1568, 
at  the  age  of  twenty-three. 

The  same  plot  had  previously  been  used  by  Bona,  Milan,  1847;  Costa,  London,  1844; 
Moscuzza,  Naples,  1862;  and  also  by  Ferrari. 

Don  Carlos  is  not  one  of  Verdi's  popular  operas,  but  the  music  is  dramatic,  effective  and 
full  of  genuine  Italian  warmth  and  passion.  Schiller's  drama  has  been  much  changed,  and 
made  to  conform  to  the  dramatic  requirements  of  the  stage  and  the  music. 


VICTOR    BOOK     OF    THE     OPERA— VERDI'S    DON     CARLOS 

Don  Carlos,  son  of  Philip  II  of  Spain,  is  in  love  with  Elizabeth  of  Valois,  daughter  of  the 
French  King,  Henry  II.  For  state  reasons,  however,  Henry  has  arranged  that  his  daughter 
shall  marry  King  Philip,  and  accordingly  the  royal  ceremony 
takes  place.  The  passion  which  Carlos  feels  for  his  young 
stepmother  is  as  intense  as  ever,  and  he  confides  in  Rodrigo, 
Marquis  of  Posa,  who  entreats  the  Prince  to  leave  the 
Spanish  Court  in  the  hope  that  he  will  forget  his  love. 
Carlos  begs  the  Queen  to  obtain  Philip's  permission  for  him 
to  join  the  Flemings  in  their  struggle  against  the  cruelties 
of  the  Spaniards.  Time  seems  to  have  but  strengthened 
the  mutual  affection  of  the  pair,  and  the  Queen  is  unable  to 
conceal  from  Carlos  the  fact  that  her  love  for  him  is  greater 
than  ever. 

Princess  Eboli,  who  is  herself  in  love  with  Carlos,  learns 
of  the  Queen 's  affection  for  the  Prince.  Her  jealousy  is 
aroused  and  she  tells  all  to  Philip.  This  maddens  the  King, 
•who  is  already  angry  with  his  son  for  his  sympathy  with 
the  Flemings,  and,  on  the  advice  of  the  Grand  Inquisitor, 

thrown  into  prison.  Rodrigo  visits  the  Prince  there,  and  is  shot  by  friends  of  the 
King,  who  suspect  him  of  helping  the  Flemings.  Carlos  is  freed  and  goes  to  St.  Just 
Monastery  to  keep  a  tryst  with  Elizabeth.  The  King  surprises  them  there,  and  his  anger 
being  once  more  aroused,  he  hands  over  Carlos  to  the  Officers  of  the  Inquisition,  who  bear 
him  away  to  his  death  as  the  curtain  falls. 

O  don  fatale  (Oh,  Fatal  Gift!) 

By  Janet  Spencer,  Soprano  (In  Italian)     74253      12-inch,     $1.5O 

Dio  che  nell*  alma  (God  in  My  Soul) 

By  Enrico  Caruso  and  Antonio  Scotti  (In  Italian)     89O64 

Per  me  giunto  e  il  di  supremo  (The  Supreme  Day) 

By  Titta  Ruffo,  Baritone  (In  Italian)     92038 


FAURE   AS    DON 


Carlos 


12-inch.       4.00 


DOUBLE-FACED  DON  CARLOS  RECORD 

{Grand  March  By  Sousa's  Band) 

Tannhauser — Pilgrims  '  Chorus     (  Wagner)         Victor  Brass  Quartet) 


12-inch.       3.0O 


10-inch.     $0.75 


(Italian) 

DON  GIOVANNI 

(Don  Joh-oahn' -net} 


(French) 

DON  JUAN 

(Don  Huahn) 


OPERA  IN  TWO  ACTS 


Libretto  by  Lorenzo  da  Ponte.  Music  by  Wolfgang  Amadeus  Mozart.  First  produced 
at  Prague,  October  29,  1787,  and  at  Vienna,  May  7,  1788.  First  London  production  April 
12,  1817;  produced  in  New  York  May  29,  1826.  Some  notable  revivals  occurred  in  1898 
with  Sembrich,  Nordica,  Eames  and  Plancon,  and  in  1909  with  Russ,  Donalda,  Bonci  and 
Renaud. 


Cast 

DON  GIOVANNI,  a  licentious  young  nobleman 

DON  OCTAVIO,  (Oct-tah1 -vee-oh)  betrothed  to  Donna  Anna.    . 

LEPORELLO,  (Lep-oh-rel'-low)  servant  of  Don  Giovanni 

DON  PEDRO,  (Pay.dro)  the  Commandant 

DONNA  ANNA,  his  daughter 

MASETTO,  ( Mas-set -to)  &  peasant 

ZERLINA,  (Zer-lee'-nah)  betrothed  to  Masetto 

DON  ELVIRA,  a  lady  of  Burgos    . 

Peasants,  Musicians,  Dancers,  Demons. 


...  Baritone 
Tenor 

Bass 

Bass 

....  Soprano 

Bass 

...  Soprano 
....  Soprano 


Scene  and  Period :     Seville,  in  the  middle  of  the  seventeenth  century. 


Mozart's  Don  Giovanni  was  written  in  1787  and  produced  during  the  same  year  at 
Prague.  Da  Ponte,  the  librettist,  was  a  Viennese  Court  dramatist,  who  had  also  written  Le 
Nozze  di  Figaro.  The  plot  of  the  opera  was  probably  founded  upon  a  play  entitled  El 
Burlador  de  Sevilla  y  Convirada  de  piedra,  attributed  to  Tirso  de  Molina,  a  Spanish  monk 
and  prior  of  a  monastery  at  Madrid.  This  had  also  served  as  a  basis  for  numerous  other 
"Don  Juan"  plays  and  operas  by  Fabrizzi,  Gardi,  Raimondi,  Carnicer  and  latterly  Dargo- 
myszky,  the  Russian  composer. 

ACT  I 

SCENE  I — The  Courtyard  of  the  Commandant's  Palace  at 
Seville.     It  is  Night 

The  wicked  Don  Giovanni,  ever  pursuing  his  gay 
conquests,  attempts  to  enter  Donna  Anna 's  apartments. 
She  cries  for  help  and  he  tries  to  escape,  but  is  pursued 
by  the  angry  girl,  who  endeavors  to  penetrate  his  dis- 
guise. Her  father  comes  to  the  rescue  and  is  mortally 
wounded  by  the  Don,  who  makes  his  escape,  followed 
by  Leporello,  his  servant.  Donna  Anna  is  overcome  with 
grief,  and  charges  her  betrothed,  Don  Octavio,  to  avenge 
her  father's  death. 

SCENE  II— An  Inn  in  a  Deserted  Spot  Outside  Seville 

Don  Giovanni  and  Leporello  enter  and  conceal  them- 
selves as  a  lady  approaches  in  a  carriage.  Hoping  for 
a  new  conquest,  the  Don  comes  forward,  hat  in  hand, 
but  is  surprised  to  find  that  it  is  Donna  Elvira,  a  young 
woman  whom  he  has  lately  deceived  and  deserted. 
She  denounces  him  for  his  baseness  and  he  makes  his 
escape,  leaving  Leporello  to  explain  as  best  he  can. 
Leporello  rather  enjoys  the  situation,  produces  his  diary 
and  adds  to  the  lady's  anger  by  reading  a  list  of  the 
mistresses  of  the  Don.  This  list  is  recited  by  Leporello 
in  the  famous  //  catalogo. 

77 


SCOTTI    AS    DON    GIOVANN 


VICTOR      BOOK      OF      THE      OPERA  —  MOZART'S      DON      GIOVANNI 


Madamina,  il  catalogo  (Gentle  Lady,  this  List) 

By  Marcel  Journet.  Bass  (In  Italian)       6415O     lO-inch,  $1.OO 

By  Arcangelo  Rossi,     (Double-faced— See  page  81)       (Italian)        62623      lO-inch,       .75 

Nella  bionda   (The  Fair  One) 

By  Marcel  Journet,  Bass 


74191      12-inch,  $1.50 


(In  Italian) 

LEPORELLO: 

Ev'ry   country,   ev'ry   township,    fully   confesses 
Those  of  the  sex  whom  to  his  rank  he  presses. 
Gentle    lady,    this   my    catalogue    numbers 
All   whose  charms  lent  my  master  beguiling. 
'Tis  a  document  of  my  compiling. 
An   it  please  ye,   peruse   it   with   me. 
In   Italia, — six   hundred  and   forty: 
Then    in    Germany, — double    fifty    seem    plenty; 
While  in  old  Spain  here, — we  count  thousands 

three! 

Some  you   see  are  country   damsels, 
Waiting-maids   and   city    ma'amselles, 
Countess',  duchess',  baronesses, 
Viscount' — ev'ry  kind  of  'esses. 
Womenfolk  of  all  conditions, 
Ev'ry  form  and  ev'ry  state! 

Journet's  Leporello  is  a  unique  performance 
of  its  kind,  and  his  characterization  always  stands 
forth  as  an  admirable  foil  to  the  polished  villainies 
of  the  suave  and  distinguished  Don.  This  great 
buffo  number,  usually  called  the  Catalogue  SongJ 
is  full  of  the  broadest  humor,  and  is  given  by  this 
artist  with  all  the  sly  humor,  gaiety,  irony  and 
sentiment  which  it  requires. 

Donna  Elvira  is  horrified  and  drives  off, 
swearing  vengeance. 

SCENE  III— In  the  Suburbs  of  Seville.      Don 

Giovanni 's  Palace  Visible  on  the  Right 
A  rustic  wedding  party  comprising  Zerlina,  Maselto  and  a  company  of  peasants  are  enjoy- 
ing an  outing      Don  Giovanni  and  Leporello  appear,  and  the  Don  is  charmed  at  the  sight  of  so 
much  youthful  beauty.     He  bids  Leporello  conduct  the  party  to  his  palace  and  give  them  re- 
freshments,   contriving,    however,    to    detain    Zerlina. 
Masetlo    protests,    but  the  Don    points  significantly   to 
his  sword  and  the  bridegroom  follows  the  peasants. 

The  Don  then  proceeds  to  flatter  the  young  girl 
and  tells  her  she  is  too  beautiful  for  such  a  clown  as 
Masetlo.  She  is  impressed  and  coquettes  with  him  in 
the  melodious  duet.  La  ci  darem,  the  witty  phrases  and 
delicate  harmonies  of  which  make  it  one  of  the  gems 
of  Mozart's  opera. 

La  ci  darem  la  mano  (Thy  Little 
Hand,  Love  !) 

By    Geraldine    Farrar,    Soprano,    and 
Antonio  Scotti,  Baritone 

(In  Italian)     89O15      12-inch,  $4.0O 
By  Emma  Eames,  Soprano,  and  Emilio 
de  Gogorza.  Baritone 

(In  Italian)      89005      12-inch, 
By  Graziella  Pareto.  Soprano,  and  Titta 
Ruffo,  Baritone 

(In  Italian)     925O5      12-inch, 


LEPORELLO 


4.00 


By    Mattia    Battistini,    Baritone,    and 
Emilia  Corsi,  Soprano 


4.OO 


(In  Italian^     92O24      12-inch.     3.00 


ELSEN    AS    ZERLINA 


VICTOR      BOOK      OF     THE      OPERA  —  MOZART'S      DON      GIOVANNI 


This  celebrated  number,  which  has  been  sung  by  many 
famous  artists  during  the  one  hundred  and  twenty  years  since 
its  first  hearing,  is  one  of  the  best  examples  of  the  many  spark- 
ling  concerted  numbers  which  Mozart  has  written.  Always 
interesting,  it  is  wholly  delightful  when  sung  by  such  artists  as 
those  who  have  rendered  it  for  the  Victor.  Not  less  than  four 
versions,  by  famous  exponents  of  the  characters  of  Zerlina  and 
Don  Giovanni,  are  presented  here. 
DON  GIOVANNI: 

Nay,  bid  me  not  resign,  love,  coldly  the  hand 

I  press, 
Oh!    say   thou   wilt  be   mine,   love,   breathe   but 

that  one  word  "yes." 
ZERLINA: 

I   would  and  yet  I   would  not,   I   feel  my  heart 

misgive, 
Shouldst  thou  prove  false,  I  could  not,  become 

thy  scorn  and  live. 
DON  GIOVANNI: 

Come  then,  oh  come  then,   dearest. 
ZERLINA: 

Yet  should  thy  fondness  alter. 
DON  GIOVANNI: 

Nay,  love,  in  vain  thou  fearest. 
BOTH: 

Yes,     hand     and     heart    uniting,     each     other's 

cause  requiting, 
Our  joy   no  bounds  shall  know! 

Miss  Farrar's  Zerlina  is  a  dainty  and  fascinating  character, 
and  she  sings  the   music    brilliantly.     It  is  hardly  necessary  to 
s  DON   GIO-    say  anything  about  Scotti's  Don  Giovanni,  as  it  is  quite  familiar  to 
JUT    AS    A      opera-goers,    ranking     among    his    best     impersonations.     The 
LONDON,    ,875)       rendition  by  Mme.  Eames  and  Mr.  de  Gogorza  is  a  most  delight- 
ful one,  while  two  other  records  by  famous  European  artists  are  also  offered. 

Giovanni  is  about  to  lead  Zerlina  away,  when  Donna  Elvira,  who  has  been  watching, 
rescues  the  young  girl  and  carries  her  off,  to  the  chagrin 
of  the  Don.  Donna  Anna  now  enters  with  Octavio, 
who  asks  the  help  of  his  friend  Don  Giovanni  in  tracing 
the  murderer  of  Donna  Anna 's  father.  The  Don  assures 
them  of  his  devotion,  and  goes  to  his  palace,  while 
Donna  Anna  tells  her  lover  that  she  recognizes  by  his 
voice  that  Don  Giovanni  is  the  one  who  slew  her  father. 
They  depart,  and  Leporello  and  the  Don  enter.  The  serv- 
ant tells  his  master  that  when  Donna  Elvira  and  Zerlina 
arrived  at  the  palace,  and  Elvira  attempted  to  tell  the 
peasants  the  truth  about  the  Don,  he  led  her  gently  out- 
side the  gate  and  then  locked  it.  He  is  complimented 
by  his  master,  who  bids  him  prepare  for  the  feast  of  the 
evening.  Left  alone,  the  gay  Don  sings  his  brilliant 
Drinking  Song,  famous  in  every  land. 

The  scene  changes  to  Don  Giovanni's  garden.  Zerlina 
is  endeavoring  to  make  her  peace  with  Masetto,  but  he 
is  sulky.  She  then  sings  her  lovely  Baiti,  batti. 

Batti,  batti,  o  bel  Masetto  (Scold  Me, 
dear  Masetto) 

By  Marcella  Sembrich,  Soprano 

(In  Italian)      88O26      12-inch.  $3.00 
This  gentle   number  is   in    striking  contrast  to  the 
brilliant  writing  in  the  lighter  bits  of  Zerlina 's  music. 

Chide  me.   dear   Masetto,  'HOT°  B"G 

Chide  Zerlina  at  your   will:  ABOTT 

Like    the    patient    lamb    I'll    suffer, 

Meek  and  mute  and   loving  still. 
Ah!  I  see,  love,  you're  relenting,  Night  and  day,  to  thee.  devoted, 


DON    GIOVANNI 


Pardon,  kneeling,  I  implore! 


ere  I   vow  to 


79 


VICTOR     BOOK      OF     THE     OPERA  —  MOZART'S      DON      GIOVANNI 

Masetto  is  only  half  appeased,  but  goes  in  to  dance  with 
his  bride.  Donna  Anna,  Donna  Elvira  and  Don  Octavio,  disguised 
and  masked,  enter  and  sing  a  trio,  in  which  they  pledge  them- 
selves to  have  revenge  on  the  traitor. 

The  scene  changes  to  the  interior  of  the  palace,  where 
the  ball  is  in  progress.  Don  Giovanni  continues  his  efforts  to 
get  Zerlina  away  from  her  jealous  and  watchful  lover,  and 
finally  succeeds,  but  Zerlina  calls  for  help  and  Masetto  and  the 
three  conspirators  rush  to  her  assistance.  They  denounce  Don 
Giovanni,  who  defies  them  with  drawn  sword,  and  makes  his 
escape  from  the  palace. 

ACT  II 

SCENE  I — A  Square  in  Seville.     Donna  Elvira's  Residence  on  the 
Left.     It  is  a  Moonlight  Night 

Don  Giovanni,  followed  by  his  servant,  enters,  wrapped  in  a 
mantle  and  carrying  a  mandolin.  He  has  heard  of  a  pretty 
servant  whom  Donna  Elvira  possesses,  and  is  plotting  to  get 
the  mistress  out  of  the  way.  As  Elvira  sits  at  her  window,  he 
addresses  her,  pretending  to  be  repentant,  but  when  she  comes 
out  he  pushes  Leporello  Jtorward  to  impersonate  him.  While 
they  are  conversing,  the  Don  makes  a  great  outcry  and  the  pair 
run  off  in  fright.  The  coast  clear,  the  Don  sings  his  famous 
Serenade  to  the  fair  waiting  maid. 

Serenata,  "Deh  vieni  alia  finestra" 
(Open  Thy  Window,  Love) 

By  Antonio  Scotti,  Baritone 

(In  Italian)        88194      12-inch,  $3.OO 
By  Titto  Ruffo,  Baritone 

(In  Italian)      87112      10-inch,     2.00 
By  M.  Hector  Dufranne,  Baritone 

(In  French)     *45O11      10-inch,      l.OO 
By  Giuseppe  de  Luca,  Baritone     (Piano 

ace.)  (In  Italian)     *62623     10-inch,       .75 

DON   GIOVANNI: 
Ope,  ope  thy  casement,   dearest, 

Thyself   one   moment   show; 

Oh,   if   my  pray'r  thou   hearest, 

Wave  but  that  arm  of  snow. 

Canst   thou   my   ceaseless   sighing 

With  cold  indif'rence   greet? 
Ah!  wouldst  thou  see  me  dying 

Despairing,  at  thy  feet? 
Thy   lip   outvies    Hymettian-honied   bowers; 

Virtue     worthy     an  .  aneel,     thy     heart     doth 

cherish; 

Thy  sigh  were  balm  amid  a  heav'n  of  flowers; 
O,  for  one  kiss,  this  soul  would  perish! 

Ruffo's  impersonation  of  Don  Giovanni  is  admir- 
able in  every  respect.     He  is  the  profligate  nobleman 
and   irresistible    wooer    to    the    life,    and    sings    the 
EENAUD  AS  DON  GIOVANNI  difficult   score  with   ease.       Scotti's  rendition  of  this 

famous  serenade  is    given   by  the  baritone  with  the 
grace  and  ease  which  never  fail  him,  while  two  lower  priced  records  are  also  offered. 

His  amours  are  rudely  interrupted  by  Masetto,  who  appears  with  a  company  of  villagers, 
all  armed  with  muskets,  seeking  the  villain.  The  Don,  pretending  to  be  Leporello,  offers  to 
put  them  on  the  right  track.  Then  follows  a  series  of  amusing  situations,  ending  with  the 
capture  of  the  supposed  Don  by  the  three  conspirators,  but  it  proves  to  be  Leoorello,  who 
takes  advantage  of  the  situation  to  make  his  escape. 

*  Double-Faced Record—  For  title  of  opposite  side  see  DOUBLE-FACED  DON  GIOVANNI  RECORDS,  page  81. 


VICTOR      BOOK      OF     THE      OPERA  —  MOZART'S      DON      GIOVANNI 


Tfie  next  scene  shows  the  Cathedral  Square,  with  the  statue 
of  the  murdered  Commandant 
in  the  centre.  The  Don  and 
Leporello  enter,  and  are  discuss- 
ing the  events  of  the  evening, 
when  the  statue  speaks  to  them. 
Leporello  is  terrified,  but  the  Don 
defies  all  spirits  and  boldly  in- 
vites the  statue  to  supper. 

The  scene  changes  to  the 
banquet  hall  in  the  palace  of 
the  Don.  In  the  midst  of  the 
festivities  a  loud  knocking  is 
heard.  The  guests  flee  in  terror, 
the  lights  go  out,  and  the  gigan- 
tic figure  of  the  Commandant 
appears  at  the  door.  Leporello 
cowers  in  terror  under  the  table, 
but  Don  Giovanni  is  defiant  until 
the  ghost  seizes  his  hand,  when 
he  feels  for  the  first  time  a  ter- 
rible fear.  The  statue  sinks, 
flames  appear  on  all  sides,  and 
demons  rise  and  seize  the  guilty 
libertine. 


/Minuet  from  Act  I  By  Victor  Dance  Orchestra 

\     Forward  March — TTVO  Step  By  Victor  Dance  Orchestra 

{Serenade  By  M.  Hector  Dufranne,  Baritone     (In  French} 

Si  j  'etais  Roi — Lin  regard  de  ses  yeux  ! — Leon  Beyle,  Tenor    (French)  ( 
|Madamina,  il  catalogo — By  Arcangelo  Rossi,  Bass     (In  Italian) 
•{Serenata — Deh!  vieni  alia  finestra    (Open  Thy 

By  Giuseppe  de  Luca,  Baritone 


62623 


.75 


DONNE     CURIOSE "THE     CLUB,        ACT     I 

(German) 

DIE  NEUGIERIGEN  FRAUEN 
LE  DONNE"  CURIOSE 

(Don-neh  Koo-nx-oh' -xh) 
(English) 

INQUISITIVE  WOMEN 

MUSICAL  COMEDY  IN  THREE  ACTS 

Libretto  by  Luigi  Sugana,  after  Carlo  Goldoni ;  music  by  Ermanna  Wolf-Ferrari. 
Produced  in  Munich  in  1903  as  Die  Neugierigen  Frauen.  First  production  at  the  Metropolitan 
Opera  House,  New  York,  January  3,  1912,  with  Farrar,  Jadlowker,  Scotti,  Fornia  and  Murphy. 


Characters 
OTTAVJO,  a  rich  Venetian 

BEATRICE,  his  wife 

ROSAURA,  his  daughter 

FLORINDO,  betrothed  to  Rosaura 

PANTALONE,  a  Venetian  merchant     

LELIO,       k  •   r  •     i 
LEANDRO,  fhls  fnends 

COLOMBINA,  Rosaura's  maid 

ELEANORA.  wife  to  Lelio 

ARLECCHINO,  servant  to  Pantalone 

Servants,  gondoliers,  men  and  women  of  the  populace 


Bass 

Mezzo-Soprano 
Soprano 
Tenor 

.Buffo- Baritone 
(Baritone 
' |      Tenor 
Soprano 
Soprano 
.  Buffo-Bass 


Time  and  Place  :    Venice  ;   the  middle  of  the  eighteenth  century. 


VICTOR    BOOK    OF    THE     OP  ER  A  — INQU  I  S  ITI  V  E    WOMEN 


Le  Donne  Curiose  is  a  genuine  comedy.  The 
plot  is  very  simple,  and  deals  with  the  schem- 
ing of  Beatrice,  Rosaura,  Eleanora  and  Colombina 
to  gain  entrance  to  the  Friendship  Clubhouse, 
of  which  their  husbands  and  lovers  are  mem- 
bers. Over  the  door  of  the  club  may  be  seen 
the  motto,  "  No  Women  Admitted."  Each 
woman  has  her  own  theory  as  to  the  doings 
behind  closed  doors,  and  they  seek  in  various 
ways  to  gain  an  entrance.  In  reality  the  men 
are  enjoying  themselves  with  simple  masculine 
pleasures,  and  chuckling  over  the  intense  curiosity 
of  their  wives  and  sweethearts. 

With  the  help  of  Colombina  and  Arlecchino, 
and  by  luring  the  keys  from  the  pocket  of 
one  of  the  members,  the  ladies  finally  succeed 
in  making  an  entrance  within  the  sacred  walls, 
and  are  surprised  to  find  the  men  enjoying 
themselves  harmlessly  at  dinner.  On  being  dis- 
covered by  the  husbands  they  are  forgiven,  and 
the  evening  ends  happily  with  a  merry  dance. 

The  Victor  offers  two  interesting  airs  from 
Act  II.  The  first,  Tulla  per  te  mio  bene,  is  sung  by 
Rosaura  as  Beatrice  and  Colombina  go  off  together 
to  try  to  effect  an  entrance  into  the  Club,  and  the 
second  is  the  love  duet  of  Rosaura  and  Florindo, 
sung  after  she  has  induced  him  to  give  her  the  keys. 


Tutta  per  te,  mio  bene  (Only  For  Thee,  My  Sweetheart) 

By  Geraldine  Farrar,  Soprano  (In  Italian)     88356     12-inch,  $3.0O 

II  cor  nel  contento  (My  Heart,  How  it  Leaps  in  Rejoicing) 

By  Geraldine  Farrar  and  Herman  Jadlowker      (Italian)      88359     12-inch,  $3.0O 


SCENE    FROU    ACT    III 

84 


THE    GARDEN ACT    III 


DON  PASQUALE 


(Don  Pahis-quah'-leh) 


COMIC    OPERA   IN   THREE    ACTS 

Text  and  music  Dy  Gaetano  Donizetti.  Libretto  adapted  from  the  older  Italian  opera 
Ser  Marc'  Antonio,  by  Camerano.  First  presented  at  the  Theatre  des  Italiens,  Paris,  on 
January  4,  1843.  First  production  in  Paris  in  French,  1864.  First  London  production  June  30, 
1843.  First  New  York  production  March  9,  1846,  in  English,  and  in  1849  in  Italian. 

Recently  revived  at  the  Metropolitan  with  Sembrich,  Scotti  and  Rossi;  and  at  the  Bos- 
ton Opera  House  with  Nielsen,  Bourrillon,  Antonio  Pini-Corsi  and  Fornari. 


Characters 

DON  PASQUALE,  an  old  bachelor 

DR.  MALATESTA,  his  friend,  a  physician 

ERNESTO,  nephew  of  Don  Pasquale 

NORINA,  beloved  of  Ernesto 

A  NOTARY 


Bass 
Baritone 

.............  Tenor 

.  .  Soprano 
Baritone 


Chorus  of  Valets  and  Chambermaids,  Majordomo,  Dressmaker  and  Hairdresser. 


Scene  and  Period :      Rome  ;    the  beginning  of  the  nineteenth  century. 


This  brightest  of  genuine  lyric  comedies  always  appeals  to  that  class  of  opera-goers  who 
find  the  present-day  comic  opera  or  musical  comedy  to  be  cheap,  gaudy  and  lacking  in 
genuine  humor.  Don  Pasquale  is  pure  entertainment,  nothing  else,  the  true  spirit  of  comedy 
being  found  in  the  music  as  well  as  the  plot;  and  both  are  delightful  when  the  opera  is 
presented  by  such  artists  as  the  Victor  has  assembled  for  this  series. 


VICTOR      BOOK      OF      THE     OPERA— DONIZETTI'S     DON     PASQUALE 

ACT    I 

SCENE — A  Room  in  Don  Pasquale 's  House 

The  Don  is  eagerly  awaiting  the  arrival  of  Dr.  Malatesta,  who  has  promised  to  obtain 
for  him  a  young  and  lovely  bride. 

Son  nov'ore  CTis  Nine  O'Clock  !) 

By  Antonio  Pini-Corsi,  Baritone,  and  Ernesto  Badini,  Baritone 

(In  Italian)     *68273      12-inch,  $1.25 

The  Doctor  enters,  declares  he  has  found  the  bride,  and  proceeds  to  describe  the 
charmer.  The  Don  is  overjoyed,  and  insists  on  seeing  the  lady  at  once.  When  the  Doctor 
leaves,  Pasquale  gives  vent  to  his  feelings  in  an  amusing  air. 

Un  foco  insolito   (A  Fire  All  Unfelt  Before) 

By  Antonio  Pini-Corsi,  Baritone,  and  Ernesto  Badini,  Baritone 

(In  Italian)      *62104      10-inch.  $0,75 

PASQUALE: 

A   fire,   all   unfelt  before,  Ah!    hasten   speedily, 

Burns   in   my   heart's  core:  Sweet  little  bride,  to  me! 

1   can  resist  no   more —  Yes,  I  am  born  again!     Now  for  my  nephew, — 

I'll    strive   no    longer.  By    playing    thus    the    careless,    heedless    hair- 

Of  old  age  enfeebling  me,  brain, 

Forgot  is  the  misery,  See   what  it   is  the  wise  and  wary  gain ! 

Feeling  still   young  to  be —  (Looking  off.) 

Than    twenty   much    stronger.  Ah!    here  the  very  man  comes,  apropos! 

His  nephew  enters,  and  is  again  urged  by  his  uncle  to  give  up  Norina,  whom  the  uncle 
calls  a  vain,  coquettish  widow.  Ernesto  refuses,  and  Don  Pasquale  announces  his  intention  of 
marrying  and  disinheriting  his  nephew.  The  young  man,  at  first  incredulous,  is  finally 
convinced  that  his  uncle  is  in  earnest  and  gives  way  to  despair,  beginning  his  first  air : 

Sogno  soave  e  casto  (Fond  Dream  of  Love) 

By  Giuseppe  Acerbi,  Tenor  (In  Italian)     *62624     10-inch,  $0.75 

ERNESTO: 

Sweet  holy   dreams  I   loved  to  cherish  But  now,  poor  and  abandon'd,  I, 

Of   early   youth,   adieu!    ye   vanish!  Reduc'd   from   my   condition   high, 

If   I   e'er  long'd   for  riches,   splendor,  Sooner  than   thee   in   misery   see, 

It  was  but  for  thee,  love;  Dearest,   I'll   renounce  thee. 

Before  leaving  his  uncle,  Ernesto  begs  him  to  consult  Dr.  Malatesta  for  advice,  but  Don 
Pasquale  says  it  was  the  Doctor  himself  who  proposed  the  plan  and  offered  his  own  sister  as 
the  happy  bride.  Ernesto  is  astonished  to  hear  that  the  Doctor,  who  he  thought  was  his 
friend,  had  deserted  him. 

SCENE  II— A  Room  in  Norina' s  House 
Norina  is  reading  a  romance,  and  at  the  beginning  of  her  air  quotes  from  the  book: 

Quel  guardo  (Glances  so  Soft) 

By  Giuseppina  Huguet,  Soprano  (In  Italian)  *68272     12-inch,  $1.25 

NORINA: 

"Glances  so  soft  revealing  To   that   sweet  maiden   kneeling 

The  flame  of  truest  love,  He   swore  he'd  faithful  prove!" 

Cavatina— So  aneh'io  la  virtu  magica   (I,  Too,  Thy  Magic 
Powers  Know) 

By  Amelia  Pollini,  Soprano  (In  Italian)     *62103     10-inch,  $0.75 

She  then  declares  that  she  too  knows  the  value  of  a  glance  and  smile. 

NORINA: 

I,   too,  thy  magic  virtues  know.  I   know  the  mode,   oh,   dear, 

Of  glance  well   tim'd   and  tender,  Of   love's  bewitching   wiles, 

A   gentle   smile,   born   to   beguile,  His  facile  arts  and  guiles.     .     .     . 

I    know— an    old   offender!  To  lure  with  wanton   smiles. 

A  hidden  tear,  a  languor  near,  I   know  the   modes,   oh,   dear! 

*DoUble-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  DON  PASQUALE  RECORDS,  page  90. 


VICTOR     BOOK     OF     THE     OPERA— DONIZETTrS     DON     PASQUALE 

A  servant  gives  her  a  letter  from  Ernesto,  just  as  the  Doctor  enters  and  informs  her  that 
he  has  conceived  a  scheme  to  force  her  lover's  guardian  to  consent  to  the  marriage.  Norina 
declares  she  will  have  nothing  to  do  with  it,  bidding  him  to  read  Ernesto's  despairing  letter, 
in  which  the  young  man  tells  her  he  is  disinherited  and  •will  leave  Rome,  bidding  her  a  last 
farewell. 

The  Doctor  soothes  her,  telling  her  he  will  induce  Ernesto  to  remain,  and  then  reveals 
the  details  of  the  plot  against  Don  Pasquale,  in  which  he  proposes  to  play  on  the  vanity  of 
the  old  bachelor,  by  pretending  to  find  him  a  young  and  lovely  wife.  They  decide  that 
Norina  shall  play  the  part  of  this  girl,  and  go  through  a  mock  marriage  with  Don  Pasquale. 
Norina  is  delighted  and  begins  to  rehearse  her  new  role.  This  takes  the  form  of  a  charming 
duet,  which  ends  the  first  act  and  which  is  always  greatly  admired.  Two  records  of  this 
sprightly  duet,  at  •widely  varying  prices,  are  cataloged  here. 

Pronta  io  son  (My  Part  I'll  Play) 

By  Marcella  Sembrich,  Soprano,  and  Antonio  Scotti,  Baritone 

(In  Italian)      89002      12-inch,  $4.OO 
By  Giuseppina  Huguet,  Soprano,  and  Ernesto  Badini,  Baritone 

(In  Italian)     *68272     12-inch.     1.25 

NORINA:  DOCTOR: 

My  part   I'll   play,   if  not  offending  Bravo,  bravo,   capital! 

Against  my  lover's  repose  and  quiet;  It  can't  be  better — all  goes  well! 

Well  the  plot  with  me  will  fare!  NORINA: 

DOCTOR:  Head  turned  aside — "Oh  fie!   oh  fie!" 

Our  plot  but  tends,   you  may  believe,  DOCTOR: 

Don  Pasquale  to  deceive.  Pursed-up    mouth — "Ashamed    am    I." 

NORINA:  NORINA: 

We're   quite  agreed,   and   I'm   enlisted.  "I'm  quite  confus'd,  my  thoughts  take  wing — " 

Would  you  have  me  gay  or  tearful?  DOCTOR: 

DOCTOR:  Oh,  clever  creature!     Just  the  thing! 

Listen,  and  you'll  all  be  told: —  BOTH: 

You  must  play   simplicity.  Of  this   old   fool,   all    sense   who   spurn'd; — 

NORINA:  This  time  the   head  will   be  quite  turn'd! 

I'll  lessons  give — leave  that  to  me. 

"I'm   so  confused — I'm   young,   you  know — 

Thank  you — Your   servant, — Yes,    sir, — Oh!" 

The  scene  is  continued  in  another  sprightly  duet,  which  closes  the  act. 

Vado  corro  (Haste  We  !) 

By  Giuseppina  Huguet  and  Ernesto  Badini        (Italian)     *62097     lO-inch,  $O.75 
ACT  II 

SCENE— A  Richly  Furnished  Hall  in  Don  Pasquale' s  House 

Don  Pasquale,  in  the  most  youthful  of  •wedding  garments,  enters  and  struts  up  and 
down,  admiring  himself,  until  the  Doctor  arrives  with  Norina,  •who  is  closely  veiled.  She 
pretends  to  be  shrinking  and  frightened,  and  the  Doctor,  beginning  a  delightfully  humorous 
trio,  the  first  of  the  concerted  numbers  in  this  act,  begs  her  to  have  courage. 

The  pretended  notary  now  arrives,  and  another  comical  scene  ensues  as  the  mock 
ceremony  is  performed.  Pasquale,  so  much  in  love  that  his  judgment  is  clouded,  is  not 
only  induced  to  sign  over  one-half  his  property  to  his  wife,  but  agrees  that  she  shall  be 
absolute  mistress  of  the  house.  As  Norina  is  signing,  Ernesto's  voice  is  heard  outside 
demanding  admittance,  having  come  to  bid  his  uncle  farewell.  He  is  amazed  to  see  Norina 
posing  as  the  Doctor's  sister  and  about  to  be  •wedded  to  his  uncle,  and  tries  to  interfere,  but 
is  restrained  by  Malatesta. 

The  moment  Norina  affixes  her  signature  to  the  contract  her  manner  changes,  and  when 
Pasquale  attempts  to  embrace  her  she  coldly  asks  him  not  to  be  so  rude.  Pasquale  is  aston- 
ished and  Ernesto  laughs,  •which  enrages  the  old  man  so  that  he  orders  his  nephew  from  the 
room.  Norina  stops  him  and  says  that  as  Don  Pasquale  is  too  old,  fat  and  feeble  to  attend  a 
young  wife,  she  must  have  a  young  cavalier  to  attend  her,  and  signifies  that  Ernesto  is  her 
choice.  Don  Pasquale  is  thunderstruck  and  attempts  to  protest,  but  Norina  warns  him  that 
if  her  words  are  not  sufficient  to  keep  him  in  his  place  she  will  beat  him!  This  is  the  last 
straw,  and  the  bewildered  old  man  stands  in  a  daze,  his  brain  refusing  to  comprehend  what 
has  happened ! 

This  tableau  is  followed  by  the  quartet,  E  rimasto. 

*Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  DON  PASQUALE  RECORDS,  page  90. 

87 


VICTOR     BOOK     OF     THE     OPERA— DONIZETTI'S     DON     PASQUALE 
E  rimasto  la  impietrato  (He  Stands  Immovable) 

By  Linda  Brambilla,  Soprano ;  Antonio  Pini-Corsi,  Baritone ; 

Gaetano  Pini-Corsi,  Tenor :  Agusto  Scipioni,  Bass 
PASQUALE:  (In  Italian)     *16566      10-inch,     $0.75 

Dream  I?     Sleep  I?     What's  amiss?  To  know   not  if  he  wakes   or  dreams! 

Kicks — cuffs:  good — a  fine  pretext —  He's   like   a   man   by   lightning   struck: 

"Tis   well   she    warn'd   me   now   of   this — what's         No   drop  of  blood   runs  in   his  veins. 

that   mean?  MALATESTA: 

We  shall  see  what's  coining  next!  Take  heart,   Pasquale,   my  old  buck, 

I,   Don  Pasquale,  she'd  think  meet  Don't  be   discouraged,   use  your   brains. 

To   trample   underneath    her   feet!  NORINA: 

NORINA  AND  ERNESTO:  Now   then,   at  least,   my   worthy   friend, 

He   stands  petrified,   and  seems —  You   must  begin   to  comprehend. 

The  great  finale  to  Act  II  then  follows,  and  the  curtain  always  descends  amid  a  gale  of 
laughter  from  the  audience.  Norina  rings  a  bell,  summoning  the  servants,  and  announces  that 
she  is  now  sole  mistress  of  the  house.  She  orders  new  servants  engaged,  two  carriages, 
new  furniture,  etc.,  planning  expenditures  on  a  lavish  scale.  Don  Pasquale  attempts  to  pro- 
test, but  is  silenced,  and  in  a  voice  choked  with  rage  and  astonishment  begins  the  finale. 

Son  tradito  (I  Am  Betrayed  !) 

By  Giuseppina  Huguet,  Soprano;  Antonio  Pini-Corsi,  Baritone; 

Gaetano  Pini-Corsi,  Tenor;  Agusto  Scipioni,  Bass 

PASQUALE-  (In  Italian)     *62097      10-inch,  $0.75 

I  am  betray'd,   trod  down  and  beat,  ALL    (pointing  to  Don  Pasquale) : 

A   laughing   stock  to  all   I   meet;  Don   Pasquale,   poor,   dear   wight, 

Oh!  with  mingled  rage  and  spite  Is  nearly  suffocated  quite! 

I  am  suffocating  quite!  MALATESTA   (to  Pasquale): 

NORINA   (to  Ernesto)  :  You're  a  little  heated,  really — 

Now  you  see,   ungrateful   heart,  Do  go  to  bed,   dear  Don   Pasquale. 

How  unjust   was  your  suspicion:  (To  Norina,  in  a  tone  of  reproof.) 

Love,   to   bring  him   to   submission,  On   my   brother-in-law   to    play 

Counsell'd  me  to  play  this  part.  Thus,  I'll  not  endure,  I  say! 

ERNESTO   (to  Norina):  (To  the  lovers,  who  are  embracing  behind  Don 

You  are  justified,  dear  heart;  Pasquale' s  back.) 

Momentary  my  suspicion.  Silly  ones,   for  Heaven's  sake,  pray, 

Love,  to  bring  him  to  submission,  Don't,   I   beg,   yourselves  betray! 
Counsell'd  thee  to   play   this  part. 

ACT  III 

(Same  as  Act  I — On  the  floor  and  furniture  are  piled  up  dresses,  bandboxes,  furs,  etc.,  in  great  pro- 
fusion.    Servants  are  running  to  and  fro  with  bustle  and  excitement) 

Don  Pasquale  is  seen  amid  the  confusion,  looking  with  utmost  consternation  at  a  huge 
pile  of  bills.  He  throws  them  down  in  despair,  and  as  Norina  approaches  resolves  to  make 
one  last  attempt  to  remain  master  in  his  own  house. 

Signorina  in  tanta  fretta  (My  Lady,  Why  This  Haste  ?) 

By  Emilia  Corsi,  Soprano,  and  Antonio  Pini-Corsi,  Baritone 

(In  Italian)     *68273      12-inch,  $1.25 
She  is  dressed  to  go  out,  and  is  hastening  to  her  carriage  when  Don  Pasquale  begins : 

(H'ith  great  heat.) 
PASQUALE:  Why,  you  impertinent! 

Prithee,   where  are  you  running  in  such  haste,         But    there — take    what    you    well    deserve,    sir! 

Young  lady,  may  I  beg  you  will  inform  me?  (Boxes  his  ears.) 

NORINA:  PASQUALE: 

Oh!   that's  a  thing  that  very  soon  is  told:  Ah! 

I'm  going  to  the  theatre  to  divert  me.  (It  is  all  over  with  you,   Don   Pasquale! 

PASQUALE:  All  that   now   remains  for  you  to  do 

But  the   husband,   with  your   leave — excuse   me         Is  quietly  to  go  and  drown  yourself!) 
T  Saying  so — may  perchance  object  to  it.  NORINA: 

NORINA:  (I   must   confess,    'tis   rather  hard  a  lesson; 

The  husband  sees,  and  wisely  holds  his  tongue:         Yet   was   required   to   have   its  due  effect.) 

For   when   he   speaks   there's  no   one   listens   to         (To  Don  Pasquale)  : 

him.  I'm   going   now,    then — 

PASQUALE   (with  rising  warmth):  PASQUALE: 

Not  to  put  me  to  the  trial,   Madame, —  Oh,   yes,   certainly! 

It   is   for   your   own   good   that   I   advise   you —         But  do  not  take  the  trouble  to  return. 

You'll  to  your  chamber  go,  this  very  instant —    NORINA: 

Remain  content  at  home — stay  in   the  house.  Oh,  we  shall  see  each  other  in  the  morning. 

NORINA    (ironically):  PASQUALE: 

Oh,  really!  A  face  of  wood — a  closed  door,   you  will  find. 


"Doubt-Faced  Record— For  title  o/opporffc  side  3ee  DOUBLE-FACED  DON  PASQUALE  RECORDS,  page  90. 


VICTOR     BOOK     OF     THE     OPERA—  DONIZETTI'S     DON     PASQUALE 

As  she  goes  out  she  intentionally  drops  a  note  which  Don  Pasquale  seizes  and  peruses. 
He  is  petrified  to  find  that  it  reads  : 


"Adored   Sophrania  — 

Between     the     hours     of     nine     and     te 

I    shall   be   at   the   bottom   of   the   garde 


By   the   small   grated   gate. 
Tis 


is    in    a    song    1    shall    announce    my    coming: 
Thine    to    command  —  thine    faithfully;  —  adieu." 


This  is  too  much,  and  the  unhappy  man  runs  in  search  of  Malalesia.  Ernesto  and  the 
Doctor  enter,  discussing  the  plot,  and  the  young  man,  after  being  instructed  to  be  at  the 
garden  rendezvous  at  nine  that  evening,  goes  out. 

Pasquale  returns,  and  going  solemnly  up  to  the  Doctor,  exclaims  : 

PASQUALE: 

Brother-in-law,  in   me,   alas,   you  see 
A   dead  man,   walking  upright! 

and  tells  him  of  the  contents  of  the  note.  Malatesta  pretends  to  sympathize  and  proposes 
that  they  lie  in  •wait  for  the  guilty  lovers  that  evening  and  teach  them  a  severe  lesson. 
Pasquale  gloats  over  his  coming  triumph,  and  begins  the  duet. 

Aspetta  aspetta  cara  esposina  (Wait,  'Wait,  Dear  Little  Wife) 

By  Antonio  Pini-Corsi,  Baritone,  and  Giovanni  Polese,  Baritone 

(Double-Faced—See  page  90)      (In  Italian)      621O3      ID-inch,   $0.75 


PASQUALE: 

Wait,    wait,    dear   little   wife, 
I   soon   reveng'd  will   be: 
E'en    now   'tis   near,   my   life. 
This  night,   without  delay, 
Thou  must  the  reckoning  pay! 
Thou'lt  see  what  little  use 
Now  will   be   each  excuse — 
Useless  thy  tender  smiles. 
Sighs,   and   tears — and   wiles — 
All  I  have  now  at  stake, 
Conquer'd,   again   I'll   take! 


MALATESTA  (aside)  : 
Oh,  the  poor  fellow! 
Vengeance   he's  prating; 
Let  the   dolt  bellow — 
He  knows  not  what's   waiting! 
He  knows   not   he   is  building   rare 
Castles  in  the  empty  air: 
He  sees  not,  the  simpleton — 
That  in  the  trap,  poor  elf, 
lie  of  his  own  accord 
Now  goes  to  throw  himself! 
(Exit  together.) 


SCENE  II — Don  Pasquale  s  Garden— It  is  Night— Ernesto  is  Discovered  Waiting 

This   scene   begins   with    the    beautiful    serenade,    the    most   melodious   of    the   airs   in 
Donizetti's  work. 


Serenata— Com'  e  gentil  (Soft  Beams  the  Light) 

By  Enrico  Caruso,  Tenor  (In  Italian)     85048     12-inch,  $3.00 

By  Aristodemo  Giorgini,  Tenor,  and  La  Scala  Chorus 

(In  Italian)      76010      12 -inch. 


ERNESTO: 

Oh!   summer  night,  thy  tranquil  light 

Was   made    for   those    who   shun   the   busy   day, 

Who   love  too   well,   yet  blush  to  tell 

The  hopes  that  led  their   hearts  astray! 

All  now  is  still,   on  dale,  on  hill, 


2.00 

And  none  are  nigh,   with  curious  eye; 
Then   why,   my   love,   oh,    why   delay? 
Your  lattice  open   to  the   starry   night, 
And  with  your  presence  make  the  world  more 
bright! 


Two  renditions  of  this  exquisite  air  are  listed  here,  headed  by  Caruso's,  familiar  to 
admirers  of  the  great  tenor.  A  fine  record  by  Giorgini,  a  tenor  now  much  liked  in  Italy, 
follows. 

Norina  joins  Ernesto,  and  they  are  reconciled  in  a  duet,  Tell  Me  Again.  Pasquale  and  the 
Doctor,  with  dark  lanterns,  enter  softly  and  hide  behind  the  trees,  but  the  irate  old  man  can 
contain  himself  no  longer  and  rushes  out  to  denounce  the  lovers.  Ernesto  vanishes  and 
Norina  calmly  declares  there  was  no  one  with  her,  that  she  had  merely  come  out  to  get 
fresh  air.  Pasquale  is  so  beside  himself  with  rage  and  chagrin  that  Malatesta  considers  it 
time  to  end  the  farce,  and  proposes  to  rid  Pasquale  of  his  bride  by  marrying  her  to  Ernesto, 
revealing  that  the  first  marriage  was  not  a  real  one,  and  that  the  lady  was  not  his  sister  but 
Norina.  Pasquale  is  so  glad  to  be  rid  of  such  an  extravagant  termagant  that  he  pardons  the 
deception,  consents  to  the  union,  and  settles  an  income  on  the  happy  pair. 

89 


VICTOR      BOOK      OF      THE    OPERA— DONIZETTI'S      DON      PASQUALE 


DOUBLE-FACED  DON  PASQUALE  RECORDS 

ISignorina  in  tanta  fretta   (My  Lady,  Why  This  Haste  ?)  1 

By  Emilia  Corsi  and  Antonio  Pini-Corsi     (In  Italian)  I,  ,-,,,_, 
Son  nov'  ore     (Tis  Nine  O'clock !) 
By  Antonio  Pini-Corsi  and  Ernesto  Badini     (In  Italian)) 
(D'un  guardo,  un  sorrisetto     (Glances  So  Soft) 


By  Giuseppina  Huguet,  Soprano 
IProntaioson     (My  Part  I'll  Play) 


(In  Italian) 
(In  Italian) 


68272 


By  La  Scala  Orchestral,  Rmn 
By  La  Scala  Orchestra^8010 


62104 


By  Giuseppina  Huguet  and  Ernesto  Badini 
/Overture 

I     Barbiere  di  Siciglia — Manca  un  foglio 
Un  foco  insolito     (A  Fire  All  Unfelt  Before) 

By  Antonio  Pini-Corsi  and  Ernesto  Badini     (In  Italian) 
Vado,  corro     (Haste  \^e  !)    By  Emilia  Corsi,  Soprano,  and 

Ernesto  Badini,  Baritone  (In  Italian) 

E  rimasto  la  impietrato     (He  Stands  Immovable) 
By  Linda  Brambilla,  Soprano ;  Antonio  Pini-Corsi, 

Baritone ;  Pini-Corsi,  Tenor  ;  Scipioni,  Bass  (In  Italian) 

Elisir  d'amore — lo  sonno  ricco  (I  Have  Riches)     By  Passari, 

Soprano;  A.  Pini-Corsi,  Baritone;   and  Chorus  (In  Italian) 

Cavatina — So  anch'io  lo  virtu  magica  (I,  Too,  Thy  Magic 
Virtues  Know) 

By  Amelia  Pollini,  Soprano     (In  Italian) 

Aspetta  aspetta  cara  esposina  ("Wait,  Wait,  Dear  Little 
Wife)  By  Antonio  Pini-Corsi,  Baritone,  and  Giovanni 
Polese,  Baritone  (In  Italian) 

Sogno  soave  e  casto     (Fond  Dream  of  Love)  | 

By  Giuseppe  Acerbi,  Tenor     (In  Italian)  [62624 
Faust—  Coro  de  soldados     (Soldiers '  Chorus)  La  Scala  Chorus] 

Vado  corro    (Haste  We)    By  Giuseppina  Huguet,  Soprano, 

and  Ernesto  Badini,  Baritone  (In  Italian) 

Son  tradito  By  Giuseppina  Huguet,  Soprano;  Antonio 
Pini-Corsi,  Baritone;  Gaetano  Pini-Corsi,  Tenor;  Ernesto 
Badini,  Baritone  (In  Italian) 


12-inch,  $1.25 

12-inch,  1.25 
12-inch,  1.25 
lO-inch.  .75 


16566  10-inch.   .75 


62103  10-inch,   .75 


lO-inch,       .75 


62O97   lO-inch,   .75 


SCENE     FOR    ACT     II     AT     METROPOLITAN    OPERA 


L'ELISIR"D°'AMORE 

(Au-lee-zee/  Jam-oh' -reh) 
(English) 

THE  ELIXIR  OF  LOVE 

OPERA  IN  TWO  ACTS 

Text  by  Romani.  Music  by  Gaetano  Donizetti.  First  produced  in  Milan  in  1832.  First 
London  production  December  10,  1836.  First  New  York  production  in  1838.  First  Paris 
production  in  1839. 

Cast 

ADINA,  a  wealthy  and  independent  young  woman Soprano 

NEMORINO,  a  young  peasant,  in  love  with  Adina Tenor 

BELCORE,  sergeant  of  the  village  garrison    Bass 

DOCTOR  DULCAMARA,  a  quack  doctor Buffo 

GlANNETTA,  a  peasant  girl Soprano 

A  Landlord,  a  Notary,  Peasants,  Soldiers,  Villagers. 

Scene  and  Period :     A  little  Italian  village ;  the  nineteenth  century. 


This  delightful  example  of  Donizetti's  work  is  a  real  opera  bouffe,  and  while  simple  and 
unconventional  in  plot,  it  has  always  been  a  favorite  because  of  the  lovely  songs  with  which 
it  abounds. 

Adina,  a  lively  village  beauty  and  heiress,  is  loved  by  a  young  peasant,  Nemorino,  who 
although  handsome  and  manly,  is  afraid  to  press  his  suit;  but  while  the  beauty  treats  him 
rather  coolly  she  is  by  no  means  indifferent  to  him. 

ACT  I 

SCENE—  The  Homestead  of  Adina' s  Farm 

Adina  and  her  companion  are  seated  under  a  tree  reading.  Nemorino  is  near,  pensively 
observing  his  innamorata,  and  sings  his  first  Caoatina. 

Quant'e  bella  !  (Ah !  How  Lovely) 

By  Emilio  Perea.  Tenor  (In  Italian)     *62626     10-inch,  $O.75 

NEMORINO: 

Ah!   how  lovely!  ah!   how  dear  to  me! 
While   I   gaze   I   adore  more  deeply; 
Ah!    what   rapture   that   soft   bosom 
With   a   mutual    flame   to   move. 
Rut  while  reading,  studying,  improving, 
She  hath  learning  and  every  attainment, 
While  I  can  nothing  do  but  love! 

Adina  then  reads  to  her  friends  a  legend  of  a  cruel  lady  who  coldly  treated  a  knight 
who  loved  her,  and  only  smiled  on  him  when  he  gave  her  a  love  potion.  Nemorino  wishes 
he  could  find  the  receipt  for  this  potent  elixir. 

Martial  music  is  heard  and  Belcore,  a  dashing  sergeant  stationed  near  the  village, 
appears  with  a  bouquet  for  Adina.  She  has  but  few  smiles  for  the  military  man,  which 
cheers  Nemorino  somewhat,  and  when  Belcore  departs  he  renews  his  suit,  but  the  fair  one 
tells  him  that  it  is  useless. 

A  commotion  among  the  villagers  is  heard,  and  Dulcamara,  a  quack  doctor,  comes  on 
the  scene,  riding  in  a  splendid  carriage.  He  announces  his  wonderful  medicines  in  a  famous 
song,  Udile,  udite  o  rustici,  the  delight  of  buffos  for  more  than  eighty  years. 

Udite,  udite  o  rustici  (Give  Ear,  Ye  Rustics) 

By  Antonio  Pini-Corsi,  Baritone  (In  Italian)     *68152     12-inch,  $1.25 

By  Emilio  Perea,  Tenor  In  Italian)     *62626     10-inch,        .75 

*  Double-Faccd  Record— For  title  of  opposite  tide  see  list  on  page  93. 

91 


VICTOR     BOOK      OF     THE      OPERA  — ELIXIR      OF      LOVE 

After  the  Doctor  has  recited  the  wonderful  effects  of  his  medicines,  saying: 
DULCAMARA: 

I    cure    the   apoplectical, 
The  asthmatical,    the   paralytical, 
The  dropsical,   the  diuretical, 
Consumption,    deafness,   too, 
The  rickets  and  the  scrofula — 
All   evils  are  at  once   upset 
By  this  new  and  fashionable  mode! 

Nemorino  exclaims,  "  Heaven  itself  must  have  sent  this  miraculous  doctor  to  our  village !  " 
He  draws  the  quack  aside,  and  asks  him  if   he  has  an  elixir  that  can  awaken  love.     The 
Doctor,  of  course,  says  that  he  is  the  original  inventor  of  the  liquid,  and  soon  has  Nemorino 's 
last  coin  in  exchange  for  the  coveted  potion,  which  is  in  reality  a  bottle  of  strong  wine. 
This  scene  is  in  the  form  of  an  amusing  duet,  Obbligaio. 

Obbligato,  obbligato  (Thank  You  Kindly) 

By  Fernando  de  Lucia,  Tenor,  and  Ernesto  Badini,  Baritone 

(In  Italian)     91079      lO-inch,  $2.0O 

As  soon  as  the  Doctor  has  departed  Nemorino  drinks  the  elixir,  and  at  once  feels  a  new 
courage  in  his  veins.  He  begins  to  sing  and  dance,  and  Adina,  coming  in,  is  astonished  to 
see  her  love-sick  swain  so  merry.  Feeling  sure  that  the  potion  •will  bring  the  lady  to  his  feet, 
he  pays  no  attention  to  her,  which  piques  her  so  much  that  when  the  sergeant  arrives  and 
renews  his  suit,  she  consents  to  wed  him  in  three  days.  Nemorino  laughs  loudly  at  this, 
which  further  enrages  the  lady,  and  she  sets  the  wedding  for  that  very  day.  This  sobers 
Nemorino,  who  fears  that  the  marriage  may  take  place  before  the  potion  works,  and  he 
pleads  for  delay.  Adina  and  Be/core  laugh  at  him,  and  the  curtain  falls  as  preparations  for 
the  wedding  are  begun. 

ACT  II 

SCENE  I— Interior  of  the  Farmhouse 

The  wedding  feast  is  in  progress,  but  the  notary  has  not  arrived.  Dulcamara  is  present, 
and  produces  the  latest  duet  from  Venice,  which  he  asks  Adina  to  sing  with  him. 

lo  sono  ricco  e  tu  sei  bella  (I  Have  Riches,  Thou  Hast  Beauty) 

By  Mme.  Passari,  Soprano ;  Antonio  Pini-Corsi,  Baritone ;  La  Scala  Chorus 

(In  Italian)  *16566      10-inch,  $O.75 

This  amusing  dialogue,  supposed  to  occur  between  a  rich  old  man  and  a  young  girl,  is 
given  here  by  two  well-known  singers  of  La  Scala,  supported  by  the  chorus. 

The  company  now  goes  to  an  adjoining  room  to  dance ;  all  but  the  Doctor,  who  says  he 
doesn't  know  when  another  free  dinner  will  come  his  way,  and  therefore  remains  at  the 
feast.  Nemorino  enters,  distracted,  and  tells  the  Doctor  that  the  elixir  has  not  yet  taken 
effect. 

"  Take  another  bottle,"  says  the  Doctor,  "  only  twenty  crowns."  Nemorino  says  he  has  no 
money,  so  the  Doctor  promptly  pockets  the  bottle  and  goes  in  to  the  dancers,  telling  the 
unhappy  youth  to  go  out  and  raise  the  amount. 

Belcore,  the  sergeant,  comes  in,  and  learning  that  Nemorino's  distress  is  caused  by  lack 
of  money,  suggests  that  he  enlist  as  a  soldier  and  be  richer  the  fee  of  twenty  crowns. 
Nemorino  jumps  at  the  chance,  signs  the  articles,  runs  in  search  of  the  Doctor,  and  drinks 
the  second  bottle  I 

The  peasant  girls,  having  heard  that  the  death  of  Nemorino's  uncle  has  just  made  him 
rich,  begin  to  pay  him  attentions.  The  Doctor  tells  Nemorino  that  this  popularity  is  the 
result  of  the  elixir  he  has  just  sold  him.  Adina,  woman-like,  when  she  sees  her  lover  in 
such  demand,  promptly  regrets  having  treated  him  so  coldly,  and  runs  out  on  the  verge  of 
tears.  Nemorino,  noting  her  downcast  looks,  feels  compassion  for  her,  and  gazing  after  her 
sadly,  sings  the  lovely  romanza,  famous  in  every  land. 

Una  furtiva  lagrima  (Down  Her  Cheek  a  Pearly  Tear) 

By  Enrico  Caruso,  Tenor  (In  Italian)  88339  12-inch,  $3.OO 

By  Enrico  Caruso,  Tenor          (Piano  ace.)  (In  Italian)  81027  lO-inch,  2.OO 

By  John  McCormack,  Tenor  (In  Italian)  74219  12-inch.  1.50 

By  Florencio  Constantino,  Tenor  In  Italian)  74065  12-inch,  1.5O 

By  Emilio  Perea,  Tenor  (In  Italian)  * 681 52  12-inch,  1.25 
*  Double-Faced  Records— For  title  of  opposite  side  see  page  93. 

92 


VICTOR   BOOK   OF   THE   OPERA  — ELIXIR   OF  LOVE 


ADINA: 

With   respect   to  your  elixir, 
One  more  potent,   sir,   have   I — 
Through    whose    virtues   Nemorino, 
Leaving  all,  to  me  will  fly! 

DULCAMARA   (aside): 

Oh!   she's  far  too  wise  and  cufining; 
These   girls   know   even   more   than    I. 


Neglected  as  the  opera,  as  a  whole,  has 
been  for  many  years,  this  lovely  romanza, 
the  song  which  Nemorino  sings  to  the  tear 
that  stood  in  his  Adina's  eye,  will  always 
keep  the  opera  from  being  forgotten.  This 
is  one  of  the  most  famous  of  the  Caruso 
records,  and  his  exquisite  singing  of  this 
beautiful  number  is  something  to  be  long 
remembered. 

Down   her   soft   cheek  a   pearly   tear 

Stole   from   her   eyelids   dark. 
Telling  their   gay  and   festive  cheer, 

It   pained  her   soul   to  mark; 
Why    then    her    dear    presence    fly? 

When  all   her  love  she  is  showing? 
Could  I  but  feel  her  beating  heart 

Pressing  against  mine  own; 
Could    I    my    feeling    soft    impart,    and    mingle 

sigh  with  sigh, 

But  feel   her   heart   against  mine   own, 
Gladly  I  then  would  die, 
All  her  love  knowing! 

Mr.  McCormack's  rendition  is  also  a 
most  attractive  one.  Very  few  English  sing- 
ers are  able  to  sing  an  Italian  aria  in  a  man- 
ner that  would  be  acceptable  to  Italian  audi- 
ences, but  McCormack  is  one  of  these,  and 
his  rendering  of  Donizetti's  exquisite  air  is 
an  example  of  this  mastery  of  the  old  school 
of  vocalization. 

The  crafty  Dulcamara  now  suggests  to 
Adina  that  she  try  the  wonderful   elixir   in 
order  to  win  back  her  lover,  but  she  says 
she  needs  not  such  aids. 
ADINA: 

With  a  tender  look  I'll  charm   him— 

With  a  modest  smile  invite  him — 

With  a  tear  or  sigh  alarm  him — 

With  a  fond  caress  excite  him. 

Never  yet  was  man  so  mulish. 

That  I  could  not  make  him  yield. 

Nemorino's   fate's  decided! 


When  Nemorino  has  sung  his  air  Adina  comes  on  with  the  soldier's  contract,  which  she 
has  bought  back,  and  tells  him  that  he  must  not  go  away.  All  misunderstandings  are  now 
cleared  away,  and  Belcore  arrives  to  find  his  bride-to-be  embracing  another.  However, 
he  is  philosophical  and  saying,  "  There  are  other  women ! "  marches  off,  while  the  villagers 
tell  Adina  and  Nemorino  of  the  latter's  good  fortune.  The  Doctor  claims  credit  for  the 
reconciliation,  and  the  curtain  falls  as  he  is  relieving  the  peasants  of  their  wages  in  return  for 
bottles  of  his  wonderful  Elixir  of  Love  ! 


DOUBLE-FACED  L'ELISIR  D'AMORE  RECORDS 

fUdite.  udite  o  rustici     (Give  Ear,  Rustics!) 


I  Una  furtiva  lagrima 


(In  Italian) 


By  A.  Pini-Corsi,  Baritone     (In  Italian] 
(A  Furtive  Tear) 

By  Emilio  Perea,  Tenor 
Quant'e  bella  !     (Ah.  How  Lovely  !) 

By  Emilio  Perea,  Tenor 

Udite,  udite  o  rustici  —  By  Arcangelo  Rossi,  Bass 
lo  sono  ricco  e  tu  sei  bella     (I  Have  Riches,  Thou  Hast 
Beauty)       By  Maria  Passari,  Soprano;   Pini-Corsi  and 
Chorus  (In  Italian) 

Don  Pasquale  —  Quartet,  Act  II  By  Linda  Brambilla,  Soprano; 
Antonio  Pini-Corsi.  Baritone;  Gaetano  Pini-Corsi, 
Tenor  ;  and  Augusto  Scipioni,  Baritone  (In  Italian') 


68152     12-inch,  $1.25 


(In  Italian)  [62626 
(In  Italian)  \ 


10-inch,       .75 


16566     10-inch.       .75 


(Italian) 

ERNANI 


(French) 

HERNANI 


(Aur-nah1 -nee) 


(Her-nah'-nee) 


OPERA  IN  FOUR  ACTS 


Libretto  adapted  by  Maria  Piave ;  from  Victor  Hugo's  drama  "Hernani;"  music  by 
Giuseppe  Verdi.  First  production  in  Venice,  March  9,  1344.  First  London  production  at 
Her  Majesty's  Theatre,  March  8,  1845.  First  New  York  production,  1846,  at  the  Astor  Place. 
At  its  Paris  production,  January  6,  1846,  the  libretto  was  altered  at  Victor  Hugo's  request, 
the  characters  being  made  Italians  and  the  name  of  the  opera  changed  to  //  Proscritto. 


Cast  of  Characters 

DON  CARLOS.  King  of  Spain 

DON  RUY  GOMEZ  DE  SILVA,  a  Grandee  of  Spain  .... 

ERNANI.  a  bandit  chief 

DON  RICCARDO,  an  esquire  of  the  King 

lAGO,  (Ee-ah'-go)  an  esquire  of  Don  Silva 

ELVIRA,  (El-oee'-rah)  betrothed  to  Don  Silva 

GIOVANNA,  (Gee-oh-vah' -nah)  in  attendance  upon  her.  .  .  . 
Chorus  of  mountaineers  and  bandits,  followers  of  Don  Siha,  ladies  of  Eloira,  followers  of 
the  King,  Spanish  and  German  nobles  and  ladies,  electors  and  pages. 

Scene  and  Period :     Aragon  ;   about  1519. 
94 


.  Baritone 

Bass 

.  .  .Tenor 
.  .  .Tenor 

Bass 

. .Soprano 
.  Mezzo-Soprano 


VICTOR  BOOK  OF  THE  OPER  A— V  ERDI'S  ERNANI 


ACT  I 

SCENE  I—  The  Mountains  of  Aragon 

Elvira,  a  Spanish  lady  of  rank,  is  about  to  be  married  to  the  elderly  Don  Gomez  de  Silva, 
a  Grandee  of  Spain.  Ernani,  a  bandit  chief  (in  reality  John  of  Aragon,  become  a  brigand 
after  his  estates  -were  confiscated),  loves  Elvira  and  resolves  to  prevent  this  unwelcome 
marriage.  The  first  scene  shows  a  mountain  pass  where  Ernani 's  men  are  encamped. 

Beviam,  beviam     (Comrades,  Let's  Drink  and  Play) 

By  La  Scala  Chorus  (In  Italian)     *35168      12-inch,     $1.25 

The  opera  opens  with  this  spirited  chorus  of  bandits  and  mountaineers,  who  are  drinking 
and  gambling  in  their  stronghold.     With  reckless  satisfaction  in  their  lot  they  sing: 
"What     matters    to     the     bandit 
If   hunted    and   branded 
So   wine   be   his  share!" 

Ernani,  their  chief,  appears  on  a  neighboring  height  with  a  melancholy  brow.  His  men 
remark  at  his  gloomy  appearance,  and  he  tells  them  that  he  is  powerless  to  prevent  the  mar- 
riage of  his  betrothed  to  the  aged  Silva  on  the  morrow.  He  describes  the  peerless  Elvira  in 
a  fine  aria,  The  Sweetest  Flow'r. 

Come  rugiada  al  cespite     (The  Sweetest  Flow'r) 

By  Luigi  Colazza,  Tenor  (In  Italian)     *62627      10-inch,     IO.75 

The  bandits  offer  their  lives,  if  need  be,  in  the  service  of  their  chief,  and  it  is  decided  to 
rescue  Elvira  that  night. 

O  tu  che  Talma  adora     (O  Thou,  My  Life's  Treasure) 

By  Martinez  Patti,  Tenor,  and  La  Scala  Chorus     (In  Italian) 

*16567     lO-inch,     $0.75 
Ernani,  in  this  passionate  aria,  sings  of  the  charms  of  his  beloved. 

ERNAN.: 

Oh   thou,   my   life's   sole   treasure,  I   love  thy   starry   glances, 

Come,   come  to   my  arms  adoring,  Thy   smile   my   heart   entrances, 

Death  at  thy   feet  were  pleasure,  Most  blessed  he  of  mortals 

The   joy   of   heav'n   is  mine    where'er   thou   art.  To   whom   thou   gav'st   thy   heart! 

Ernani  and  his  men  depart  in  the  direction  of  Siloa  's  castle 
and  the  scene  changes. 

SCENE  II — Elvira 's  Apartment  in  the  Castle 
Elvira  is  discovered  alone,  brooding  over  the  prospect  of 
the  sacrifice,  which  she  seems  powerless  to  prevent. 
ELVIRA: 

'Tis  near  the  dawning,  and  Silva  yet  returns  not!     Ah! 


he    camt 
confirm!: 


my 


odi 

Ernani! 


loving,    mor 


vould 
deeply 


Ernani  involami    (Ernani.  Fly  with  Me) 

By  Marcella  Sembrich  88022     12-inch,     $3.0O 

By  Frieda  Hempel,  Soprano   88383     12-inch,       3.00 

By  Maria  Grisi  *63173     10-inch.          .75 

In  this  beautiful  but  despairing  number  she  calls  on  her 

lover  to  save  her,  singing : 

Ernani.   fly  with   me; 
Prevent    this    hated    marriage! 
With    thee,    e'en    the   barren    desert 
Would  seem  an   Eden  of  enchantment! 

Two  brilliant  renditions  of  this  famous  number  are  given, 
by  Mme  Sembrich  and  Mme.  Hempel;  while  a  popular- 
priced  record  is  contributed  by  Mme.  Grisi,  of  La  Scala. 

Elvira's  ladies-in-waiting  now  enter,  bringing  her  wedding 
gifts,  and  in  the  graceful  chorus  with  which  this  record  begins, 
congratulate  her. 

*  Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  ERNANI  RECORDS,  page  100. 


VICTOR  BOOK  OF  THE  OPER  A— V  ERDI'S  ERNANI 
Quanta  dTberia  giovani  (Noble  Hispania's  Blood) 

By  Ida  Giacomelli  and  La  Scala  Chorus         (In  Italian)     *16567     10-inch.     $0.75 

She  thanks  them,  saying:  "Each  kindly  wish  awakes  a  response  in  my  own  heart;"  then 
sings,  aside,  a  second  number,  "  Tutlo  sprezzo  che  d'Ernani,  "  in  which  she  tells  of  her  hope 
of  rescue.  The  chorus  joins  in  the  concluding  strain. 

Da  quel  di  che  t'ho  veduta     (From  the  Day  when  First 
Thy  Beauty) 

By  Angela  de  Angelis,  Soprano ;  Francesco  Cigada,  Baritone 

(In  Italian)     *35168     12-inch,     $1.25 

We  come  now  to  one  of  the  greatest  scenes  in  the  opera.  Elvira,  •who  has  left  the  room 
with  the  ladies,  returns  and  is  amazed  to  discover  in  her  boudoir  the  King,  who  has  been 
secretly  in  love  with  her.  She  appeals  to  his  honor,  saying : 

"In   pity,   sire,  leave  me!" 

The  record  begins  with  the  dramatic  dialogue  between  Carlos  and  Elvira.  Carlos  then 
declares  his  love  in  the  aria  "Da  quel  di"  leading  up  to  a  dramatic  duet,  which  concludes 
this  sixth  number. 

Tu  se1  Ernani !     (Thou  Art  Ernani!) 

By  Giacomelli.  Martinez-Patti  and  Pignataro    (Italian)     *16568     10-inch,     10.75 

The  King,  maddened  by  Elvira 's  resistance,  is  about  to  carry  her  away  by  force.  She 
snatches  a  dagger  from  Carlos'  belt  and  Cries  :  "Go,  tor  with  this  dagger  1  will  slay  us  both !" 
The  King  is  about  to  summon  his  guard,  when  suddenly  a  secret  panel  door  opens  and 
Ernani  appears.  Carlos  recognizes  him  and  exclaims :  "  Thou  art  Ernani,  the  assassin  and 
bandit,"  and  in  the  spirited  trio  which  follows  the  rivals  declare  their  hatred,  while  Elvira, 
almost  distracted,  endeavors  to  protect  her  lover. 

Infelice  e  tu  credevi  (Unhappy  One  !) 

By  Marcel  Journet.  Bass  (In  Italian)        740O8     12-inch.     $1.50 

By  Perello  de  Segurola.  Bass  (In  Italian)     *55OO7     12-inch.       1.50 

By  Aristodemo  Sillich,  Bass  (In  Italian)     *63421      10-inch.         .75 

In  the  midst  of  this  thrilling  tableau  now  appears  Silva,  who  does  not  recognize  the 
King  and  who  is  naturally  astounded  to  find  two  rivals  in  the  apartments  of  his  future 
bride,  quarreling  for  her  possession.  He  summons  his  squires  and  soldiers,  then  addresses 
himself  to  Elvira  and  reproaches  her  in  this  well-known  and  impressive  Infelice,  one  of  the 
most  beautiful  of  bass  arias.  Four  records  of  this  favorite  number  are  available — by 
Journet  (in  both  10  and  12-inch),  by  de  Segurola  and  by  Sillich. 

The  editor  regrets  that  he  is  unable  to  give  satisfactory  English  translations  for  the  ma- 
jority of  the  Ernani  airs,  but  most  of  the  available  translations  of  Ernani  are  so  distorted  as 
to  be  almost  meaningless.  The  few  extracts  which  are  given  have  been  revised  and  made 
somewhat  intelligible.  "Opera  in  English,"  about  which  we  hear  so  much  nowadays, 
cannot  be  permanently  successful  without  new  translations  for  some  of  the  older  works. 
For  instance,  here  is  a  specimen  translation  of  the  text  of  this  very  air  of  Infelice. 

Ah,  to  win,   to  win  back  summer's  blossom  Far  congealing  unto  the  core. 

In   my  breast  were  tho't  toe  gainless,  Winter  lords  it  in   this  bosom. 

Winter  lords  it  within  this  my  bosom.  Far  congealing,   far  congealing  to  the  core, 

Far  congealing,   far  congealing  to  the  core,  Unto   the   core,   congealing   unto   the   core! 

Far  congealing  unto   the  core, 

Now  anyone  who  can  tell  just  what  this  means  is  certainly  a  highly  gifted  individual ! 

In  this  connection,  however,  it  should  be  stated  that  several  American  music  publishers 
are  entitled  to  praise  for  their  efforts  to  improve  opera  translations,  especially  G.  Schirmer, 
with  many  beautiful  new  editions  of  the  older  operas  and  collections  of  opera  airs ;  and  Oliver 
Ditson  Company,  •whose  Musicians'  Library,  a  splendid  piece  of  music  typography,  contains 
many  new  translations.  The  editor  of  this  catalogue  is  indebted  to  both  these  firms  for 
permission  to  quote  from  their  new  translations. 

*  Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  ERNANI  RECORDS,  pages  99  and  1 00. 

96 


VICTOR    BOOK    OF     THE     OPER  A— V  ERDI'S    ERNANI 


Vedi  come  il  buon  vegliardo 

(Well  I  Knew  My  Trusty  Vassal) 

By  Maria  Grisi,  Soprano ;  Carlo  Ottoboni, 
Bass;  Remo  Sangiorgi,  Tenor;  and 
Giuseppi  Sala,  Baritone 

(In  Italian)  *35169  12-inch,  $1.25 
Having  reproached  his  bride  for  her  supposed 
treachery,  Silva  thinks  of  vengeance,  and  calling  for  his 
armor  and  a  sword,  demands  that  the  intruders  follow 
him  to  combat.  Before  they  can  reply,  the  King's 
squires  enter  and  salute  their  sovereign.  The  astounded 
Silva,  though  secretly  enraged,  kneels  to  his  King,  say- 
ing:  "Duty  to  my  King  cancels  all  offences."  The 
great  finale  then  begins  with  Carlos '  solo,  sung  aside  to 
his  squires : 

"Well   I  knew  my  trusty  vassal 
Fierce  in   hate,  in  passion  tender 
Would    his   wrath    and   love    surrender 
In   the   presence   of  his   King." 

This  is  one  of  the  most  impressive  records  of  the 
Ernani  series. 

Finale,  Act  I 

By  Maria  Grisi,  Soprano ;  Carlo  Ottoboni, 
Bass;  Remo  Sangiorgi,  Tenor;  and 

"^^^Pfc~  W»'~*'  ~  Giuseppi  Sala,  Baritone 

THE  KING  PLEADS  HIS  LOVE  (In  Italian)     *16568     10-inch,     $0.75 

The  finale  to  Act  I  is  continued  in  this  record.     The  situation  at  the  close  of  the  act  may  be 
understood  by  these  quotations  from  the  words  the  librettist  has  given  to  the  various  characters: 
CARLOS   (to  Ernani): 

I   will   save   thee! 
(Aloud  to  Sili'a): 

Let  this  trusty  friend  depart. 
ERNANI  . 

I    thy    friend?      Never!    unto    death    my    ven 

geance   will   pursue   thee! 
ELVIRA: 

Fly,    Ernani,   let   love   teach   thee   prudence! 
Ernani  yields  to  Elvira's  pleadings  and  in  the  confusion  makes  his  escape.      The  curtain 
falls  on  an  impressive  tableau.  ACT  IT 

SCENE— A  Hall  in  Silva' 's  Castle 

After  his  escape  from  the  castle,  nothing  has  been  seen  of  Emani.  Elvira  believes  the 
rumors  of  his  death  and  despairingly  consents  to  wed  Don  Silva. 

Esultiam  (Day  of  Gladness) 

By  La  Scala  Chorus  (In  Italian)     *16569      lO-inch.     $O.75 

The  first  scene  of  Act  II  occurs  in  a  magnificent  hall  in  the  castle.  The  company  of 
knights  and  pages  of  Silva,  and  ladies  in  attendance  on  Elvira  sing  the  opening  chorus  in 
praise  of  the  noble  Siloa  and  his  peerless  bride. 

Oro  quant*  oro  (I  am  the  Bandit  Ernani) 

By  Maria  Bernacchi,  Soprano;  Luisi  Colazza,  Tenor  ;  and  Torres  de  Luna, 

Bass  (In  Italian)     *16569      lO-inch,     $O.75 

Silva,  attired  as  a  Grandee,  enters.  His  squire,  /ago,  announces  a  holy  man,  who  craves 
the  hospitality  of  the  castle.  Ernani,  disguised  as  a  pilgrim,  enters,  then  throws  off  his  disguise 
and  exclaims,  beginning  this  fine  trio  : 

"I  am  the  bandit  Ernani  .  .  .  My  men  are  dead  or  in  chains  .  .  .  My 
enemies  are  without  the  castle  .  .  .  Seize  me  and  deliver  me  up,  for  I  am 
weary  of  life!" 

Silva,  however,  refuses  to  betray  one  whom  he  has  received  as  a  guest.  The  trio, 
•which  is  one  of  the  great  scenes  of  the  opera,  then  follows. 

'^Double-Faced  Record—  For  title  of  opposite  side  *x  DOUBLE-FACED  ERNANI  RECORDS,  page,  99  and  100. 

97 


CARLOS: 

Power,    dominion    and    love's    delights, 

All   these  are  mine — all   my  will   must   obey! 
SILVA: 

From  my  eyes  a  veil  has  fallen     .     .     . 

I   can   scarce   believe   my   senses! 
COURTIERS: 

Well   doth   Silva   hide  his  anger 

But  within  it  still   doth  smolder! 


VICTOR     BOOK    OF    THE    OPER  A— V  ERDI'S    ERNANI 

La  vedremo,  o  veglio  audace     (I  "Will  Prove,  Audacious 
Greybeard) 

By  Mattia  Battistini,  Baritone,  and  Aristodemo  Sillich,  Bass 

(In  Italian)        920O7      12-inch,     $3.OO 
By  Ernesto  Caronna,  Baritone,  and  Torres  de  Luna,  Bass 

(In  Italian)     *1657O      10-inch,          .75 

The  retainers  bring  news  that  the  King  and  his  warriors  are  without  the  castle.  Si'/va 
hides  Ernani  in  a  secret  passage  and  orders  that  the  King  be  admitted.  Don  Carlos  inquires, 
with  irony,  why  Siha  's  castle  is  so  well  guarded,  and  demands  that  he  surrender  Ernani  or 
lose  his  own  life.  Silva  refuses.  The  soldiers  are  ordered  to  search  the  castle.  This  duet 
then  occurs,  beginning : 

CARLOS:  I    will    prove,    audacious   greybeard, 
If  thou'rt  loyal  to  thy   King! 
In   my  wrath   I   will   destroy  thee! 
SILVA:   Oh   King,   be  just;    I   cannot  yield! 

Vieni  meco     (Come,  Thou  Dearest  Maiden) 

By  Emilia  Corsi,  Sopr'nc-    Mattia  Battistini,  Baritone;  and  La  Scala 

Chorus  (In  Italian)     920O8      12-inch,     I3.OO 

By  Maria  Grisi,  Soprano ;    Francesco  Cigada,  Baritone;    Carlo  Ottoboni, 

Bass ;  and  La  Scala  Chorus  (In Italian)     *1657O     10-inch,         .75 

This  record  begins  with  a  chorus  of  soldiers,  who  have  explored  the  castle  but  have  found 
no  trace  of  Ernani.  The  King  is  about  to  torture  Silva  into  revealing  the  secret,  when  Elvira 
rushes  in  and  begs  the  mercy  of  his  Majesty.  Carlos  turns  to  her,  and  sings  consolingly  of 
the  bright  future  before  her  as  his  Queen,  and  in  the  great  trio  which  follows  the  con- 
flicting emotions  of  those  in  the  scene  are  expressed  in  Verdi's  fiery  music. 

A  te  scegli,  seguimi     (Choose  Thy  Sword,  and  Follow!) 

By  Luigi  Colazza,  Tenor,  and  Torres  de  Luna,  Bass 

(In  Italian)     *35169      12-inch,     $1.25 

The  King,  his  followers,  and  the  Lady  Elvira  having  retired, 
Silva  exclaims:  "Hell  cannot  hate  with  the  hatred  I  bear  thee, 
vile  King!"  He  then  takes  down  two  swords  from  the  armory, 
and  releasing  Ernani  from  his  hiding  place,  challenges  him  to  com- 
bat. Ernani  refuses,  saying  that  his  life  belongs  to  Siha,  who  has 
saved  it.  Silva  taunts  him  with  cowardice  and  Ernani  consents  to 
fight,  but  asks  for  one  look  at  Elvira.  Silva  replies  that  the  King  has 
taken  her  away.  "  Fool !  "  cries  Ernani  to  the  astonished  Grandee,  , 
"  the  King  is  our  rival  I  "  and  agrees  to  combine  with  Silva  against 
their  mutual  foe.  Once  their  revenge  is  accomplished,  Ernani  agrees 
to  yield  his  life  at  Silva 's  call,  and  gives  him  a  hunting  horn  which  i 

shall  be  the  signal  for  his  (Ernani 's)  death.    For  this  magnificent  num-  FjPBKrflT'' 

ber  Verdi  has  written  some  of  his  most  dramatic  music. 

In  arcion,  cavalieri     (To  Horse,  Ye  "Warriors) 

By  Giuseppi  Sala,  Tenor;   Cesare  Preve,  Baritone; 

and  La  Scala  Chorus   (Italian)     *16571      10-inch,     $O.75 
The  act  closes  with  the  spirited  duet  and  chorus  by  Ernani,  Silva 
and  the  warriors  of  the  Don,  who  prepare  to  pursue  the  King  to  the 
death. 

ACT  III 

SCENE— A  Vault  in  Aix-la-Chapelle  Cemetery 

O  de'  verd'  anni  miei     (Oh  Bright  and  Fleeting 
Shadows) 

ByMarioAncona.Baritone  (Italian)  88O62      12-inch,      $3.OO      VAN  DYCK  AS  KRNANI 
*  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  ERNANI  RECORDS,  pages  99  and  1 09. 


VICTOR    BOOK     OF    THE    OPER  A—  V  ERDI'S    ERNANI 

The  third  act  occurs  in  the  Tomb  of  Charlemagne  at  Aix-la-Chapelle.  Carlos  con- 
ceals himself  in  the  tomb  of  his  ancestor  to  witness  the  meeting  of  the  conspirators  who 
are  plotting  against  him.  He  is  depressed  and  melancholy,  and  sings  this  famous  O  de  oerd, 
in  which  he  pledges  himself  to  better  deeds  should  the  Electors,  then  in  session,  proclaim 
him  Emperor. 

Si  ridesti  il  Icon  di  Castiglia     (Rouse  the  Lion  of  Castile) 

By  La  Scala  Chorus  (In  Italian)     *16571      10-inch,     $O.75 

The  conspirators,  among  whom  are  Ernani  and  Silva,  assemble  at  the  tomb.  Emani  is 
chosen  to  assassinate  Carlos,  and  greets  the  decision  with  joy,  exclaiming  that  his  dead  father 
will  at  last  be  avenged.  The  great  ensemble  then  follows. 

0  sommo  Carlo     (Oh  Noble  Carlos) 

By  Mattia  Battistini,  Baritone  ;    Emilia  Corsi,  Soprano  ;  Luigi  Colazza, 
Tenor;  Aristodemo  Sillich,  Bass  ;  and  La  Scala  Chorus 

(In  Italian)     92046     12-inch,     I3.OO 
By  Maria  Grisi,  Remo  Sangiorgi,  Francesco  Cigada  and  La  Scala  Chorus 

(Double-faced—  See  below)  (In  Italian)     35170     12-inch,       1.25 

The  booming  of  cannon  having  announced  that  Carlos  is  proclaimed  Emperor,  he  comes 
from  the  tomb  and  surprises  the  conspirators.  At  the  same  time  the  Electors  and  the  King's 
courtiers  enter  from  a  secret  door.  Carlos  condemns  the  plotters  to  death,  when  Elvira  rushes 
to  him  and  asks  for  mercy.  The  Emperor  heeds  her,  pardons  them  all,  and  unites  Ehira 
and  Ernani.  In  this  great  finale  all  glorify  the  Emperor  except  Silva,  who  still  secretly  cries 
for  vengeance. 

ACT  IV 

SCENE  —  Terrace  of  a  Palace  in  Aragon 

Festa  da  ballo     (Hail,  Bright  Hour  of  Gladness) 

By  La  Scala  Chorus  (In  Italian)     *16572     10-inch,  $O.75 

The  lovers  are  now  happily  united,  and  this  scene  shows  them  atErnani's  palace,  which, 
with  his  estates,  has  been  restored  to  him.  A  chorus  of  ladies,  masks  and  pages  greets  the 
happy  pair. 

Ferna  crudel,  estinguere     (Stay  Thee,  My  Lord  !) 

By  Maria  Bernacchi,  Soprano  ;  Luigi  Colazza,  Tenor;  and  Torres  de  Luna, 

Baritone     (Double-faced—  See  below)  (In  Italian)     35170     12-inch,     $1.25 

Elvira  and  Ernani  are  alone  on  the  terrace,  oblivious  to  all  but  each  other,  when  a  blast 
from  a  horn  is  heard.  Ernani  awakes  from  his  dream  of  bliss  and  recognizes  the  sound  of 
his  own  hunting  horn,  which  he  had  given  to  Silva  as  a  pledge  to  die  when  the  revengeful 
Don  should  demand  his  life.  The  distracted  Elvira  pleads  with  Silva  for  her  husband,  but 
in  vain.  After  an  affecting  farewell  Ernani  fulfills  his  vow,  stabs  himself  and  dies,  while 
Elvira  falls  lifeless  on  his  body.  The  curtain  falls  as  the  cruel  and  remorseless  Silva  is  gloat- 
ing over  his  terrible  revenge. 

DOUBLE-FACED  ERNANI  RECORDS 

(Infelice  e  tu  credevi  By  Perello  de  Segurola,  Bassl,  *nn-       ,~  •     *       *i  <tn 

1  Puritani^  Sorgea  la  notte     By  Perelld  de  Segurola,  Bass  (In  Italian)  f  55°°  7       *  2-mch'     '  l  '5O 
Ferna,  crudel  By  Maria  Bernacchi,  Soprano  ;  Luigi 

Colazza,  Tenor;  and  Torres  de  Luna.  Bass  (In  Italian) 

O  sommo  Carlo     By  Maria  Grisi,  Soprano  ;  Remo  Sangiorgi, 

Tenor;  Francesco  Cigada,  Baritone;  and  Chorus    (Italian) 
(Ernani  Selection  By  Pry  or's  Band\  „,....        ,  ,  •      .          ,  25 

1     Meislersinger—  Prize  Song  By  Victor  Sorlin,    'Cellist^51  1 

(A.  te  scegli,  seguimi  By  Luigi  Colazza,  Tenor,  and 

Torres  de  Luna,  Bass  (In  Italian) 


.,,,..  _n       .»  .      ,          .  ~, 
JD 


Vedi  come   il  buon  vegliardo  By  Maria  Grisi, 

Soprano;  Remo  Sangiorgi, Tenor  ;  GiuseppiSala, Tenor; 

t      and  Carlo  Ottoboni,  Bass  (In  Ilaliai 


35169       12-inch,        1.25 


1  Double-Faced  Record— For  title  of  opposite  side  xe  DOUBLE-FACED  ERNANI  RECORDS,  page  100. 

99 


VICTOR    BOOK    OF     THE     OPER  A— V  ERDI'S     ERNAN 


IBeviam,  beviam  By  La  Scala  Chorus     (In  Italian)} 

Da  quel  di  che  t'ho  veduta  By  Angela  de  Angelis,     >35168 

Soprano,  and  Francesco  Cigada,  Baritone  (In  Italian)] 

(O  tu  che  1'alma  adora  By  Martinez-Patti,  Tenor, 

and  Chorus  (In  Italian) 

Quante  d'Iberia  giovani          By  Ida  Giacomelli,  Soprano, 
and  Chorus  (In  Italian) 

Finale,  Act  I        By  Maria  Grisi,  Soprano;  Carlo  Ottoboni,     1 
Bass;    Remo  Sangiorgi,  Tenor;    and  Giuseppi  Sala,  Tenor  I 
Tu  se'  Ernani          By  Ida  Giacomelli.  Soprano  ;  Martinez-      [ 
Patti, Tenor;  and  Enrico  Pignataro,  Baritone      (In  Italian)) 
[Esultiam!  By  La  Scala  Chorus     (In  Italian) 

I  Oro  quant'  oro  By  Maria  Bernacchi,  Soprano ; 

[     Luigi  Colazza,  Tenor ;  and  Torres  de  Luna,  Bass     (In  Italian) 
La  vedremo  By  Ernesto  Caronna,  Baritone,  and 

Torres  de  Luna.  Bass  (In  Italian) 

Vieni  meco      By  Maria  Grisi,  Soprano ;  Francesco  Cigada, 

Baritone ;  Carlo  Ottoboni,  Bass ;  and  Chorus        (In  Italian)^ 
In    arcion,    cavalieri !  By  Giuseppi  Sala,  Tenor;     | 

Cesare  Preve,  Bass  ;  and  Chorus  (In  Italian)  [  165 71 

Si  ridesti  il  Icon  di  Castiglia       By  La  Scala  Chorus     (Italian)] 
Festa  da  ballo  "  O  come  felici "  By  La  Scala  Chorus 

(In  Italian) 
Hamlet  — O    vin,    discaccia    la    tristezza 

By  Francesco  Cigada,  Baritone,  and  Chorus 
Ernani  involami  (Ernani,  Fly  -with  Me) 

By  Maria  Grisi,  Soprano 
Ballo  in  Maschera — O  Figlio  d"  Inghilterra 

By  Huguet,  Salvador,  Cigada,  Sillich,  and  Chorus 
Infelice  e  tu   credevi  (Unhappy  One!) 

By  Aristodemo  Sillich,  Bass 
Manon — Oh,  Manon,  sempre  la  slressa 

By  Giorgio  Malesci,  Tenor 

Come  rugiada  al  cespite  By  Luigi  Colazza 

O    tu    che    1'alma    adora 

By  Martinez-Patti,  Tenor,  and  Chorus 


12-inch,     $1.25 


16567       lO-inch, 


16569   lO-inch, 


(In  Italian) 
(In  Italian) 
(In  Italian) 
(In  Italian) 


.75 


lO-inch,    .75 


.75 


16570   10-inch,    .75 


lO-inch, 


16572   lO-inch, 


63173   lO-inch,    .75 


63421   lO-inch,    .75 


(In  Italian) 
(In  Italian)] 

1&2627 
(In  Italian)] 


lO-inch, 


.75 


VERDI'S  BIRTHP 


(Italian) 

FALSTAFF 


COMIC  OPERA  IN  THREE  ACTS 

Text  by  Boito,  taken  from  Shakespeare's  comedy,  The  Merry  Wives  of  Windsor.  Music 
by  Verdi.  First  production,  Milan,  March,  1893.  First  American  production  at  the  Metro- 
politan Opera  House,  New  York,  February  4,  1895,  under  the  direction  of  Maurice  Grau. 


Characters  and  Original  Metropolitan  Cast 

SIR  JOHN  FALSTAFF  ............................  Baritone  . 

FENTON,  a  young  gentleman  ........................  Tenor. 


Maurel 
.  Russitano 


FORD,  a  wealthy  burgher 
DR.  CAIUS,   a  physician 

**•—  °< 


MRS.  ALICE  FORD 

NANETTA,   her   daughter 
MRS.   QUICKLEY 
MRS.  MEG  PAGE 


Baritone .  .  .  Campanari 

Tenor Vanni 

(Tenor  ....  Rinaldini 

'  (^    Bass Nicolini 

Soprano Eames 

Soprano  .  .  .  de  Lussan 

Contralto Scalchi 

.  Mezzo-Soprano  .  .  .  .de  Vigne 


It  was  the  youthful  dream  of  the  great  composer,  Verdi, 
to  write  a  comic  opera,  but  it  was  not  until  he  was  nearing 
eighty  years  of  age  that  his  dream  was  realized.  The  music 
of  Falstaff  denotes  in  all  things  almost  the  antithesis  of  the 
style  and  methods  and  ideals  of  Verdi's  early  operas.  The 
music  is  vivacious  and  sparkling,  being  interspersed  with 
delightful  fragments  of  melody. 

Sir  John  Falstaff  is  a  merry  rogue,  so  conceited  as  to  be- 
lieve himself  irresistible  to  all  womankind.  His  egotism 
leads  him  to  think  he  has  fascinated  both  Mistress  Page  and 
Mistress  Alice  Ford,  and  he  writes  each  of  the  ladies  a  love 
letter  identical  in  contents.  The  two  women  compare  the 
notes  and  plan  to  punish  the  Knight  for  presuming  to  address 
them  in  such  terms  of  affection. 

Ford  learns  of  Falstaff 's  advances  to  his  wife  and  flies 
into  a  jealous  rage.  Mistress  Ford  sends  Dame  Quic^ley  to  Sir 
John  with  an  invitation  to  call,  which  he  is  quick  to  accept. 
Scarcely  does  he  arrive  at  Ford's  house  than  Dame  Quickley 
reports  the  coming  of  Mistress  Page,  and  Falstaff  is  com- 
pelled to  hide  behind  a  screen.  Then  the  angry  Ford 
appears  with  his  friends,  determined  to  capture  Falstaff,  but 


VICTOR  BOOK  OF  THE  OP  E  R  A— V  E  R  D  I 'S  FALSTAFF 


the  latter  takes  refuge  in  a 
clothes  basket.  Mistress  Ford 
has  the  basket  thrown  into  the 
ditch,  and  the  unlucky  suitor 
receives  a  good  shaking-up 
before  the  jeering  crowd. 

Falstqff,  undaunted  by  his 
basket  experience,  arranges 
to  meet  Lady  Ford  again,  the 
trysting  place  this  time  being 
at  Herne's  Oak,  in  Windsor 
Park.  Ford  and  his  men,  in- 
cluding Pislola  and  Bardolfo, 
who  have  turned  against  Fal- 
staff  because  of  his  bad  treat- 
ment of  them,  overhear  the 
arrangements  and  plan  to  be 
therealso.  No-w,  Ford's  daugh- 
ter, Nanetta,  is  in  love  with 
Fenton,  but  her  father  de- 
mands that  she  marry  Dr. 
Caius.  Ford  tells  the  doctor 
that  this  is  a  good  time  for 
him  to  secure  Nanetta,  and 
promises  to  aid  him.  Dame 


SCOTTI   AS   FALSTAFF 


Quiclfley,  however,  learns 
of  this,  and  the  women 
plan  to  have  Fenton  spoil 
the  designs  of  the  phy- 
sician. 

Falstaff's  love  scene 
with  Mistress  Ford  is  inter- 
rupted by  Ford's  friends, 
disguised  as  elves  and 
fairies,  who  thrash  the  fat 
knight  soundly.  In  the 
confusion  Dr.  Caius  mis- 
takes Bardolfo  for  Nanetta, 
Ford  is  finally  won  over, 
and  his  daughter  and 
Fenton  are  happily  mar- 
ried. 

The  Victor  offers  two 
very  fine  records  of  two 
of  the  best  known  airs 
from  the  opera:  the  Quand' 
era  paggio,  sung  by  Falstaff 
to  Mistress  Alice  Ford  in 
Act  II;  and  the  Sul  fil 
d'un  soffio  from  Act  III, 
sung  by  Nanetta  as  the  pre- 
tended fairies  gather  in 
Windsor  Park. 


Quand'  ero  paggio     (When  I  Was  Page) 

By  Antonio  Scotti,  Baritone  (In  Italian')      88194       12-inch,     $3.OO 

Sul  fil  d'un  soffio     (Borne  on  the  Breeze) 

By  Frances  Alda,  Soprano  (In  Italian)     88247       12-inch,     $3.OO 

102 


FAUST 

(Fowsf) 

OPERA  IN  FIVE  ACTS 
Words  by  Barbier  and  Carre,  founded  upon 
Goethe's  tragedy.  Music  by  Charles  Gounod. 
First  produced  at  the  Theatre  Lyrique,  Paris, 
March  19,  1859.  First  performance  in  London 
June  11,  1863;  in  New  York  November  26, 
1863,  at  the  Academy  of  Music,  with  Kellogg, 
Mazzoleni,  Biachi  and  Yppolito. 

Some  famous  American  productions 
were  in  1883,  with  Nilsson,  Scalchi,  and 
Campanini ;  and  the  same  year  with  Nor- 
dica  (debut)  as  Marguerite;  in  1892  with 
Eames,  the  de  Reszkes  and  Lasalle ; 
^?j  and  recently  with  Caruso  and  Farrar. 


Characters 

FAUST  (Fowrf) Tenor 

MEPHISTOPHELES  (Mepw-fo/' -«/-/<**)    Bass 

VALENTINE  (vaf*n-i<xn) Baritone 

BRANDER,  or  WAGNER  Baritone 

SlEBEL   (See' -bet)    Mezzo-Soprano 

MARGUERITE  (Mahr-guer^'}  — Soprano 

MARTHA Contralto 

Students,  Soldiers,  Villagers, 
Sorcerers,  Spirits. 


The  action  takes  place  in  Germany. 


Faust,  the  Aged  Philosopher,  "Wearies  of  Life 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


,.  3-  -•.  US  CHCEURS.i  •:-••    •      -    .     :  / 

M   FIORETTI.     FONTA""^  FIOCF  A 
MARODET  BAilATTE  MERAN  /       f 


s^ii 


IFAUST 


FAUST 

Fifty-four  years  have  elapsed  since  the  first  production 
of  this  masterpiece  by  Gounod ;  and  it  is  to-day  sung 
throughout  the  world  more  than  any  other  five  operas 
combined.  At  the  Paris  Opera  alone  it  has  been  given 
more  than  1500  times,  and  the  new  setting  recently  pro- 
vided for  it  there  cost  not  less  than  1 50,000  francs,  a  sum 
which  would  not  be  risked  on  any  other  opera  whatever. 

It  seems  strange  now,  in  view  of  the  overwhelming 
success  of  Faust,  to  recall  that  it  was  received  with  indif- 
ference in  Paris,  and  all  but  failed  in  Milan.  The  London 
production,  however,  with  Titiens,  Giuglini,  Trebelli, 
Gassier  and  Santley,  was  quite  successful;  and  in  the 
following  June  Patti  sang  Marguerite  for  the  first  time,  the 
opera  receiving  a  tremendous  ovation. 

The  story  is  familiar  to  almost  every  one  and  will  be 
but  briefly  sketched  here.  The  libretto  by  Barbier  and 
Carre  does  not  attempt  to  follow  the  Goethe  drama,  but 
merely  makes  use  of  the  Faust- Marguerite  incident.  This 
_  is  sufficient,  however,  to  provide  an  intensely  interesting 
\L  (1869)  subject  for  Gounod's  lovely  music. 

Prelude  to  Faust 

By  L'Orchestre  Symphonique,  Paris  58O16     12-inch,  $1.OO 

The  prelude  to  Faust  is  a  short  one,  merely  giving  a  clue  to  the  drama  which  is  to 
follow.  The  fateful  single  note  of  the  full 
orchestra  with  which  it  opens  and  the  mysteri-  | 
ous  chromatic  chords  stealing  in  from  the 
strings  form  a  fitting  introduction  to  a  drama] 
of  such  unusual  portent. 

The  tempo  is  then  accelerated  and  a  pas- 
sage suggesting  Faust's  mental  struggles  leads  | 

to  the  lovely  melody  in  F  major  ( Dio  possenle) .  _ 

The  prelude  closes  with  sustained  chords,  solemn  and  impressive. 

This  number  is  rarely  heard  apart  from  the  opera,  and  so  excellent  a  reproduction  as 
this  one  by  the  orchestra  will  be  highly  appreciated. 

ACT  I — The  Compact 

The  first  act  reveals  the  studio  of  Faust,  an  aged  philosopher  and  alchemist,  who  is 
seen  surrounded  by  musty  parchment  rolls  and  the  rude  scientific  apparatus  of  the  fifteenth 
century.  The  fitful  light  of  the  expiring  lamp  is  a  symbol  of  the  despair  in  the  heart  of  the 
aged  Faust,  as  after  a  lifetime  spent  in  the  pursuit  of  learning,  he  realizes  that  he  knows 
but  little  of  true  knowledge.  Tired  of  the  struggle,  he  resolves  to  end  it  with  a  poisonous 
draught,  and  raises  the  goblet  to  his  lips ;  but  pauses  as  the  songs  of  the  happy  peasants 
float  through  the  open  window.  He  goes  to  the  window,  and  filled  with  rage  at  the  sight 
of  human  happiness,  he  curses  all  earthly  things  and  calls  on  Satan  to  aid  him. 

This  scene  is  given  in  a  most  impressive  record  by  De  Tura  and  the  La  Scala  Chorus. 


La  vaga  pupilla  (Rise,  Slumbering  Maiden) 

By  Gennaro  De  Tura  and  La  Scala  Chorus     (In  Italian) 


CHORUS  OF   PEASANT   GIRLS    (passing  without   the 

window): 

Ah!   careless,   idle  maiden. 
Wherefore   dreaming  still? 
Day  with  roses  laden 
Cometh  o'er  the  hill. 
Brooks  and   bees  and   flowers 


Warble  to  the 
ti 
l 


ess 


Awake 
FAUST: 

Foolish   echoes   of  human   gladness, 

Go  by,  pass  on  your  way! 

(His  hand  trembles.) 

Goblet   so   often    drained   by    my    father's    hand 

so  steady. 
Why  now  dost  thou  tremble  in   mine? 


76O19      12-inch,  $2.OO 


CHORUS  OF  REAPF.RS   (without) : 

Cometh  forth,  ye   reapers,  young  and   hoary! 

The  earth  is  proud  with  harvest  glory! 

Rejoice  and  pray. 
FAUST: 

If  I   pray  there  is  none  to  hear — 

To  give  me  back  my  love, 

Its  believing  and  its  glow. 

Accurst  be  all  ye  thoughts  of  earthly  pleasure! 

Fond   dreams   of   hope!    ambitions   high, 

And   their    fulfillment    so    rare! 

Accurst,   my  vaunted  learning, 

And   forgiveness   and   prayer! 

Infernal   king,   appear! 

(Mephistopheles   appears.) 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


Mephistopheles,  attired  in  the  dress 
of  a  gallant,  promptly  appears  in  re- 
sponse to  the  call  and  proposes  that 
the  good  Doctor  shall  enter  into  a  com- 
pact with  him.  In  return  for  riches, 
glory,  power,  anything  he  desires,  Faust 
shall  merely  give  up  his  soul.  The 
aged  philosopher,  spurning  gold  or 
power,  cries  out  for  youth,  only  youth! 

lo  voglio  il  piacer    (The 

Pleasures  of  Youth) 

By  Gaetano  Pini-Corsi,  Tenor  ; 
Aristodemo  Sillich,  Bass 
(In  Italian)  *63174  lO-in.,  $O.75 

The  bargain  is  soon  agreed  upon 
and  Faust  is  about  to  pledge  his  soul 
in  return  for  youth  and  love,  but  as  he 
still  hesitates,  Mephisto  says,  "  See  how 
fair  youth  invites  you !  Look !  " 

O  merveille  (Heavenly 
Vision) 

By    Enrico    Caruso,  Tenor; 
Marcel  Journet,  Bass 
(In  French)  89O39    12-in.,  $4.0O 

Then  follows  the  delicate  passage 
for  strings  which  accompanies  the  vis- 
ion. Faust,  gazing  rapturously  on  the 
beautiful  Marguerite,  sings : 


The  scroll  is  signed  in  letters  of  fire,  Faust 
drains  the  magic  potion  and  is  transformed 
into  a  youth.  The  spirited  duet  which  follows, 
ending  the  first  act,  is  sung  with  fine  effect ; 
both  of  the  Victor  renditions  being  most 
attractive  ones. 


ACT  II— The  Fair 

(The  scene  shows  a  fair  in  progress  in  the  public  square  of  a  German  tonn) 

A  motley  crowd  of  students,  soldiers,  old  men,  young  women  and  matrons  are  disport- 
ing themselves — drinking,  talking,  flirting,  quarreling;  and  this  animated  chorus,  with  which 
the  Kermesse  Scene  begins,  graphically  pictures  the  whole. 

Kermesse  Scene 


By  New  York  Grand  Opera  Chorus 
By  La  Scala  Chorus 


(In  Italian)  74213  12-inch,  $1.5O 
(In  Italian)  *6816O  12-inch,  1.25 
Each  group  delivers  its  quota  in  distinctive  fashion,  the  soldiers'  sturdy  declaration  con- 
trasting with  the  laughing,  chattering  passages  allotted  to  the  women;  the  high-pitched 
falsetto  of  the  gossiping  old  men  always  proving  a  favorite  portion  of  this  number.  At  the 
close  the  different  groups  combine  into  a  chorus  of  six  parts.  This  wonderful  piece  of 
choral  writing  is  reproduced  in  a  striking  manner,  and  gives  a  most  realistic  picture  of  the 
K-ermesse. 


*Double-Faced  Record— For  title  of  opposite  aide  ; 


DOUBLE-FACED  FAUST  RECORDS,  page  125. 
106 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


SOLDIERS: 

Red  and  white  liquor,  coarse  or  fine, 

What  can  it  matter,  so  we  have  wine? 
OLD  MEN: 

Each  new  feast-day  brings   the   old  story, 

Danger  gone  by,   how  we  enjoy  it! 

While  to-day  each   hpt-headed  boy 

Fights   for  to-day's   little   glory! 
GIRLS: 

Only  look  how  they   do  eye  us, 

Yonder   fellows   gay! 

Howsoever  they  defy  us, 

Never  run  away! 


STUDENTS: 

How  those  merry  girls  do  eye  us 

We   know  what   it  means — 

To  despise  us,  to  decoy  us, 

Line  so  many  queens! 
MATRONS: 

Only  see  the  brazen  creatures 

With  the  men  at  play; 

Had  the  latter  choice  in  features, 

They  would  turn  this  way! 
SOLDIERS: 

Long   live   the   soldier, 

The    soldier    gay! 

Be  it  ancient  city,  be  it  maiden  pretty, 

Both  must  fall  our  prey! 


Here  Valentine,  the  brother  of  Marguerite,  is  found  among  the  crowd  of  soldiers  just 
ibout  to  depart  for  the  •war,  and  he  sings  the  noble  Dio  possente,  a  farewell  to  his  sister 
and  his  home. 


MEETING    OF     MARGUERITE     AND     FAUST ACT     II 

Dio  possente  (Even  the  Bravest  Heart) 

By  Antonio  Scotti,  Baritone  (In  Italian)     88203     12-inch,  $3.0O 

By  Emilio  de  Gogorza,  Baritone  (In  Italian)     88174     12-inch,     3.00 

By  Titta  Ruffo.  Baritone  (In  Italian)     92O43     12-inch,     3.0O 

By  Francesco  Cigada    (Double-faced— See  page  125)     (Italian)     68275      12-inch,     1.25 
In  the  preceding  recitative   he  speaks  of  his  fears  in  leaving  his  sister  Marguerite  alone, 
and  contemplates  with  affection  the  amulet  she  has  given  him  to  bring  good  fortune. 
VALENTINE: 

Dear  gift  of  my  sister, 
Made   more   holy  by  her  pray'r. 
However  great  the  danger, 
There's  naught  can  do  me  harm, 
Protected  by  this  charm! 

The  familiar  "  Cavatina  "  then  follows  : 


Even   bravest  heart  may  swell, 

In   the   moment  of  farewell. 

Loving   smile   of   sister  kind, 

Quiet  home  I  leave  behind; 
Oft  shall  I  think  of  you, 

Whene'er   the   wine-cup   passes  'round, 
When  alone  my  watch  I  keep 
And  my  comrades  lie  asleep 


Upon   the  tented  battleground. 

But  when  danger  to  glory  shall   call  me, 

I  still  will  be  first  in  the  fray, 

As  blithe  as  a  knight  in  his  bridal  array, 
Careless   what  fate   may   befall   me, 
When  glory  shall   call  me. 

Oft  shall  I  sadly  think  of  you 

When  far  away,   far  away. 


107 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  G  O  U  N  O  D  '  S  FAUST 


This  Dio  possente  was  not  in  the  original  production  of  the  opera, 
but  was  written  by  Gounod  especially  for  Santley  in  the  English 
production  at  Her  Majesty's  Theatre,  1864. 

The  Victor  off  ers  a  wide  choice  to  buyers  of  this  fine  "  Cavatina." 
Scotti's  Valentine  is  always  a  revelation  in  dramatic  possibilities.  This 
role,  too  often  allotted  to  a  mediocre  artist,  is  filled  by  him  with 
dignity;  and  he  makes  a  serious  and  soldierly  Valentine,  singing  the 
music  with  admirable  richness  of  tone  and  beauty  of  expression. 

Although  Mr.  de  Gogorza  has  not  sung  the  number  in  opera,  it  is 
frequently  seen  on  his  concert  programs,  and  he  sings  it  superbly. 
Other  fine  renditions  in  Italian  are  the  ones  by  Ruffo,  the  famous 
Italian  baritone,  who  has  recently  made  such  a  success  in  this  country, 
and  Cigada,  a  well-known  European  baritone,  who  has  not  yet  visited 
America. 

Le  veau  d'or  (The  Calf  of  Gold) 

By  Pol  Plan$on,  Bass        (In  French)     81O38     10-inch,  $2.OO 
By  Marcel  Journet,  Bass  (In  French)     64036     lO-inch,     l.OO 

We  are  now  in  the  full  bustle  of  the  Fair  Scene,  where  in  front 
of  an  inn  a  crowd  of  drinkers  are  listening  to  one  of  their  number, 
Wagner,  singing  a  somewhat  coarse  ditty  concerning  a  rat.  Mephistc- 
pheles  breaks  in  upon  the  revelers,  and  offers  to  sing  a  song  of  his 
own,  "The  Song  of  the  Golden  Calf."  After  the  diabolically  sug- 
gestive introduction  by  the  orchestra,  with  its  semi-quavers  and 
descending  chromatics,  we  hear  the  bold  opening  passage  of  this 
anthem  in  praise  of  Mammon,  of  which  the  calf  is  symbolic. 


MEPHISTOPHELES: 

Calf  of  Gold!  aye  in  all  the  world 

To  your  mightiness  they  proffer, 

Incense  at  your  fane  they  offer 

From  end  to  end  of  all  the  world. 

And  in  honor  of  the  idol 

Kings  and  peoples  everywhere 

To  the  sound  of  jingling  coins 

Dance   with  zeal   in   festive  circle, 

Round  about  the  pedestal, 

Satan,  he  conducts  the  ball! 

Calf   of  Gold,   strongest   god   below! 

To  his  temple  overflowing 

Crowds  before   his  vile   shape   bowing, 

As  they  strive  in   abject  toil, 

As   with   souls   debased   they   circle 

Round  about  the  pedestal, 

Satan,  he  conducts  the  ball! 

Two  renditions  of  this  effective  bass 
song  are  offered  by  the  Victor.  Plancon's 
rendition  is  a  spirited  one,  the  number 
always  being  sung  by  him  with  a  full 
appreciation  of  its  caustic  raillery.  Jour- 
net's  record  is  also  a  splendid  one  in 
many  respects,  and  shows  the  magnificent 
voice  of  this  artist  to  great  advantage. 

Mephislopheles  now  proceeds  to  aston- 
ish the  company  by  his  feats  of  magic, 
first  reading  their  palms  and  then  draw- 
ing wine  from  the  barrel  of  Bacchus— the 
inn  sign  perched  up  aloft — each  man 
drawing  the  wine  he  likes  the  best. 

The  scene  which  follows,  a  most 
dramatic  one,  is  given  in  a  splendid 
record  by  Amato,  Journet  and  the  Metro- 
politan Chorus. 


MEPHISTOPHELES     AND     FAUST     VIEV 


VICTOR    BOOK    OF    THE    OPER  A— G  OUNOD'S    FAUST 


Faust  — Scene  les  Epees   (Scene  of  the  Swords) 

By  Pasquale  Amato,  Baritone ;  Marcel  Journet,  Bass ;  and 
Metropolitan  Opera  Chorus 

(Giulio  Setti,  Director) 

(In  French)     89O55      12-inch,  $4.OO 
The  record  begins  with  the  invocation  to  Bacchus. 
MEPHISTOPHELES: 
I_drink  to  you  all! 

ving  it   out   with  a   wry  face.) 
vhat   rubbishy 


(Tin 
Bah! 


Let  me  see  if  I  cannot  find  you  better! 
(Striking     the     image     of     Bacchus     with     his 

sword.) 

What  ho,   Bacchus!   up  there!  some  liquors! 
Come  while  you  can, 

And  each  one  drink  the  wine  he  likes  the  best! 

He  then  affronts  Valentine  by  proposing  the  health  of  Marguerite, 
and  the  soldier  draws   his   sword,  only  to   find  that  some  unforeseen 
force  has  made  it  powerless  in  his  hand. 
MEPHISTOPHELES: 

I   propose  the  health   of  the  dearest  of  all 

dears, 

Our  Margarita! 
VALENTINE: 
Enough! 

Bridle  thy  tongue,   or   thou   diest  by   my  hand! 
MEPHISTOPHELES: 

Come  on !      (Both  draw) 
CHORUS: 

Come  on ! 
MEPHISTOPHELES    (mocking): 

So  soon  afraid,   who  so   lately  defied  me? 
VALENTINE:  SAMMARCO  AS  VALENTINE 

My   sword!      O   disgrace!      In  my  hand  is 
powerless! 

Valentine,  however,  turns  the  handle  upwards,  thus  making  the  Sign  of  the  Cross,  the 
soldiers  doing  likewise,  and  they  now  face  the  Tempter  with  confidence. 

VALENTINE  AND   SOLDIERS: 

'Gainst  the   powers   of  evil   our   arms   assailing,     SOLDIERS   (imitating  him) : 

Strongest  earthly   might  must   be   unavailing.  Look  hither! 

VALENTINE:  ALL: 

But  know  thou  art  powerless  to  harm  us!  Whilst  this  blest  sign   we   wear 

VALENTINE:  Thou  canst  not  harm  us! 

Look  hither!  Whilst  this  blest  sign  we  wear 

(Holds  up  his  sword  to  form  a  cross.)  Thou  canst  not  harm  us! 

Mephistopheles  is  discomfited,  and  cowers  in  terror  as  the  soldiers  sing  the  choral,  with  its 
striking  unison  passage  for  male  voices,  alternated  with  bursts  of  harmony. 

This  is  a  remarkably  fine  reproduction,  the  men's  voices  being  rich  and  sonorous,  and 
the  dramatic  feeling  intense. 

The  delightful  waltz,  which  has  been  a  model  of  its  kind  ever  since  the  first  per- 
formance of  Faust,  now  begins. 

Waltz  from  Kermesse  Scene 

By  Pryor's  Band    (Double-Faced—  See  page  125)  16552     lO-inch,  $0.75 

This  favorite  number  is  played  by  the  band  with  the  absolute  precision  and  daintiness 
which  are  indispensable  to  its  proper  performance. 

Faust  now  observes  Marguerite  and  approaching  her,  greets  her  respectfully,  offering 
his  escort. 

FAUST: 

High-born  and   lovely  maid, 
Forgive  my  humble  duty, 
Let  me,   your  willing  slave, 
Attend  you  home  to-day? 

She  modestly  declines,   saying : 
MARGUERITE: 

No,  my  lord,  not  a  lady  am  I,  FAUST   (gazing  after  her): 

Nor   yet   a   beauty;  By  my  youth!   what  a  charm! 

And   do   not   need   an   arm,  She   knows  not  of  her  beauty. 

To   help  me   on  my  way.  Oh!   darling  child,  I  love  thee! 

The  waltz  now  re-commences  and  the  act  ends  in  a  wild  and  exciting  dance,  in  which 
all  join — students,  soldiers  and  women. 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — G  O  U  N  O  D  '  S    FAUST 


ACT  III— The  Garden  Scene 

The  Garden  Scene  of  Faust  is  undoubtedly  Gounod's  finest  inspiration;  and  the  sensuous 
beauty  of  the  music  with  which  the  composer  has  surrounded  the  story  of  Marguerite 's 
innocence  and  trust  betrayed,  has  held  many  millions  in  rapt  attention  during  the  fifty 
years  since  it  was  first  heard. 

Flower  Song — Le  parlate  d'amor  (In  the  Language  of  Love) 

By  Louise  Homer,  Contralto  (In  Italian)     87O75      10-inch,  $2.OO 

By  Corinne  Morgan,  Contralto  (In  English)   *35086     12-inch,     1.25 

By  Rita  Fornia,  Soprano  (In  French)     64162     10-inch,     1.00 

By  Emma  Zaccaria,  Mezzo-Soprano  (In  Italian)   *62O85     10-inch,        .75 

This  fresh  and  dainty  song  of  Siebel  ushers  in  the  act.    The  gentle  boy  enters  Marguerite's 
garden,  thinking  of  the  dark  prophecy  of  Mephistopheles,  who  had  told  him  (in  Act  II) : 
"Each    flower    that    you    touch, 
Every  beauty  you  dote  on 
Shall   rot  and  shall  wither!" 

Siebel  now  thinks  to  put  this  curse  to  a  test,  and  prepares  to  send  a  message  of  love  to 
Marguerite  by  means  of  a  flower,  singing 

"In   the   language   of   love,    oh   gentle   flow'r, 
Say  to  her  I  adore  her." 

Andante.  SeeU. 


Then  gath- 
ering a  blos- 
som he  ex- 
claims,  as 
he  sees  it 
fade: 


Son    viz  •  zi,    ah!  •  me     lo   sire-go    ma  -  le       del  -  to     met   di  -  ce  -  vapr          or. 
'  Tis    ioilh-er'd!  X-las>  that  dark  slran-gerfore  •  told  me    What  my  fate  must         be. 


*  Doable-Faced  Record— For  titlt  of  ophite  ,ide  xx  DOUBLE-FACED  FAUST  RECORDS,  page  125. 

110 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


But  the  happy  thought  occurs  to  him  to  dip  his  fingers  in  the 
font  of  holy  water  by  the  side  of  the  cottage.  He  does  so,  and  is 
delighted  to  find  the  spell  broken.  The  first  strain  then  reappears, 
closing  the  aria. 

This  popular  number  is  offered  in  Italian  by  Homer  and 
Zaccaria,  in  French  by  Fornia  and  in  English  by  Miss  Morgan. 

Salut  demeure  (All  Hail,  Thou  Dwelling) 

By  Enrico  Caruso         (In  French)    880O3     12-inch,  $3.OO 
By  John  McCormack  (In  Italian)    7422O     12-inch,     1.5O 

Mephistopheles  and  Faust,  who  have  been  secretly  watching 
Siebel,  now  appear;  the  Tempter  being  in  high  spirits  at  the  appar- 
ent success  of  his  schemes,  while  Faust  gazes  in  rapture  at  the 
garden  where  his  beloved  one  is  wont  to  walk,  and  sings  his  lovely 
cavalina.  He  thus  rhapsodizes  the  modest  dwelling  of  Marguerite : 

All  hail,  thou  dwelling  pure  and  lowly! 

Home  of  an  angel  fair  and  holy, 

What  wealth   is  here,  what  wealth  outbidding  gold, 

Of  peace  and  love,   and  innocence   untold! 

Bounteous   Nature! 

'Twas  here  by  day  thy  love  was  taught  her. 

Here  thou  didst  with  care  overshadow  thy  daughter 

Here,  waving  tree  and  flower 
Made  her  an  Eden-bower  of  beauty  and  delight. 

The  Caruso  record  of  this  number,  which  the  tenor  sings  in 
French,  is  one  of  the  finest  in  his  entire  list ;  while  the  other  ren- 
dition is  a  splendid  one  by  McCormack,  in  Italian. 


While  Faust  is  singing  his  apostrophe 
to  Marguerite's  dwelling,  Mephistopheles, 
with  an  eye  to  more  practical  things, 
has  replaced  Siebel 's  humble  nosegay 
with  a  splendid  bouquet,  a  more  fitting 
accompaniment  to  the  casket  of  jewels 
with  which  Marguerite  is  to  be  tempted. 

Marguerite  enters  the  garden,  pen- 
sively dreaming  of  the  handsome  stran- 
ger she  had  met  in  the  market  place. 
Her  entrance  is  announced  on  the  clari- 
nets and  violins  in  a  lovely  strain  sug- 
gesting the  coming  song. 

She  seats  herself  at  the  spinning 
wheel  and  murmurs  dreamily: 

I  wish  I  could  but  know  who  was  he  that 

addressed  me; 
If     he     was     noble — or    at    least     what     his 

name   is.     ... 


Le  Roi  de  Thule    (Ballad  of 
the  King  of  Thule) 

By  Geraldine  Farrar,  Soprano 
(French)     88229     12-in.,  *3OO 

Then  rebuking  herself  for  her  idle 
fancies,  she  applies  herself  to  her  spin- 
ning and  begins  this  plaintive  chanson  : 

"Once    there   was   a   king   in    Thule 
Who  was  until  death  always  faithful, 
And  in  memory  of  his  loved  one 
Caused  a  cup  of  gold  to  be  made." 


VICTOR    BOOK    OF    THE     O  P  E  R  A  — G  O  U  N  O  D  '  S     FAUST 

Then  her  thoughts  return  to  Faust,  and  breaking  off  the  song,  she  sings  as  if  to  herself : 
Adagio. 


qu'it     me     sem  - 
bear    •    ing    his    voice  was     so     kind. 

Again  impatient  with  her  wandering  mind,  she  finishes  the  ballad. 

Miss   Farrar    sings   this    beautiful    folk-song   with  surpassing  loveliness  of  voice,  and  in 
the  dreamy  sentimental   style  which  it  requires. 

Finding  herself  in  no  humor  to  spin,  Marguerite  moves 
toward  the  house  and  sees  the  flowers,  which  she  stops  to 
admire,  thinking  them  from  Siebel.  The  box  of  jewels  then 
catches  her  eye,  and  after  some  misgivings  she  opens  it.  Then 
follows  the  bright  and  sparkling  "Jewel  Song,"  or  Air  des  bijoux, 
in  which  childish  glee  and  virginal  coquettishness  are  so  happily 
expressed. 

"Oh   Heav'n!    what  brilliant  gems! 
Can  they  be  real? 
Oh    never    in    my    sleep    did    I    dream    of    aught 

so  lovely!" 
exclaims  the  delighted  Marguerite. 

Air  des  Bijoux  ( Jewel  Song) 

By  Nellie  Melba,  Soprano 

(In  French)      88066      12-inch,   $3.0O 
By  Marcella  Sembrich,  Soprano 

(In  French)     88O24     12-inch,     3.OO 
By  Geraldine  Farrar,  Soprano  PATTI  AS  MARGUERITE    1875 

(In  French)     88147     12-inch,     3.OO 

By  G  iuseppina  Huguet  (Double-faced—  Seepage  125)    (In  Italian)  6816O    12-inch,  $1.25 
No  less  than  four  fine    records  of  this    well-known  and  popular  air  are  presented  for 
the  choice  of  Victor  opera  lovers. 

Melba's  rendition  is  a  most  delightful  one,  her 
voice  exhibiting  the  most  entrancing  smoothness ; 
in  its  loveliness,  flexibility  and  brilliancy  it  seems 
absolutely  without  a  flaw. 

Sembrich's  Marguerite  was  always  a  fine  imper- 
sonation, and  her  delivery  of  the  number  is  exceed- 
ingly artistic,  being  one  of  the  cleanest  and  most 
finished  bits  of  colorature  singing  ever  heard  in 
opera. 

Miss  Farrar's  brilliant  Marguerite  has  been  much 
admired  during  the  past  few  seasons,  and  this 
number  shows  well  the  loveliness  and  flexibility  of 
her  voice.  A  fine  record  at  a  lower  price  is  con- 
tributed by  Mme.  Huguet,  doubled  with  the  Ker- 
messe  record  described  in  Act  II. 

Quartet — Seigneur  Dieu !   (Saints 

Above,  What  Lovely  Gems  !) 

By  Geraldine  Farrar,  Soprano ;  Enrico 
Caruso,  Tenor;  Marcel  Journet,  Bass; 
and  Mme.  Gilibert,  Mezzo-Soprano 

(In  French)     95204      12-inch,     $5.0O 
The    first   of   the    great    quartet    records    begins 
with    the   entrance   of  Martha,  a   susceptible  matron 
•who    is     companion    to     the    motherless     girl.     The 
duenna    is   struck   with   astonishment  at  the  sight    of 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — G  O  U  N  O  D  '  S    FAUST 


the  jewels,  and  begins  to  question  Marguerite, 
when  she  is  interrupted  by  Mephistopheles,  who 
appears  with  Faust ;  and  to  excuse  his  entrance 
tells  Martha  that  her  husband  is  dead.  This 
announcement  is  received  with  cries  of  grief  and 
sympathy  from  the  women,  and  the  impressive 
pause  which  ensues  is  followed  by  the  beautiful 
quartet,  in  which  Gounod  expresses  the  various 
emotions  of  the  characters. 

Mephistopheles  then  begins  to  flatter  the  vain 
matron  and  pay  her  mock  attentions,  so  that 
Faust  may  have  an  opportunity  to  plead  his  cause 
without  interruption.  This  dialogue  with  the 
susceptible  duenna  furnishes  the  only  touch  of 
comedy  in  the  opera. 

MEPHISTOPHELES: 

Happy  will  be  the  man 

Whom  you  choose  for  your  next! 

I   trust  he  may  be   worthy! 

Faust  urges  the  timid  girl  to  take  his  arm, 
at  which  she  demurs,  while  the  crafty  Tempter 
continues  his  flattering  attentions  to  Martha.  The 
second  quartet  bit  then  follows,  closing  the 
record. 

Quartet — Eh  quoi  toujours  seule  ? 
1863>  (But  Why  So  Lonely  ?) 

By  Geraldine  Farrar,  Soprano;    Enrico  Caruso,  Tenor;  Marcel  Journet, 
Bass;   and  Mme.  Gilibert,   Mezzo-Soprano 

(In  French)      952O5      12-inch,   $5.OO 

The  second  part  of  the  scene   begins  with  the  beautiful   dialogue  between  Marguerite 
and  Faust.     She  confides  to  him  her  loneliness,  and  in  an  exquisite  passage  speaks  of  her 
dead  sister. 
MARGUERITE:     My  mother  is  gone; 

At  the  war  is  my  brother; 
One  dear  little   sister  I   had, 
But  the  darling,  too,  is  dead! 

Faust  is  tender  and  sympathetic,  and  the  im- 
pressionable girl's  heart  turns  more  and  more 
toward  the  handsome  stranger,  who  seems  all 
that  a  lover  should  be. 

The  record  closes  with  the  final  quartet  pas- 
sage, by  far  the  most  effective  bit  of  concerted  writ- 
ing in  the  opera.  It  is  magnificently  sung  here, 
the  balance  of  the  voices  being  absolutely  perfect. 

The  recording  of  so  complex  and  varied  a 
piece  of  concerted  music  as  is  contained  in  these 
two  records  is  a  marvelous  piece  of  work,  and 
one  of  the  most  amazing  achievements  in  the 
reproduction  of  operatic  music  yet  heard.  The 
solo,  duet,  and  quartet  parts  which  constitute  it, 
the  short  pieces  of  dialogue  between  various 
persons,  not  forgetting  the  important  orchestral 
interludes — all  these  are  portrayed  with  the  utmost 
fidelity,  making  a  marvelous  musical  picture  of 
one  of  the  most  interesting  pages  of  Gounod's 
charming  score. 

Mephistopheles  has  succeeded  in  getting  rid  of 
Martha,  who  vainly  looks  for  him  in  the  garden,  and 
he  now  watches  with  satisfaction  the  lovers,  who 
are  wandering  among  the  trees  in  the  moonlight. 

113 


QUARTET— ACT 


Marguerite's  Surrender 


VICTOR    BOOK    OF    THE    O  P  E  R  A  -  G  O  U  N  O  D  '  S    FAUST 

The  Tempter  now  sings  the  famous  Incantation,  in  which  he  calls  upon  night  and 
the  flowers  to  aid  him  in  his  diabolical  plot  against  the  soul  of  Marguerite. 

Invocation  Mephistopheles  (Oh  Night,  Draw  Thy  Curtain!) 

By  Marcel  Journet,  Bass  (In  French)     64119     10-inch,  $1.0O 

Stretching  out  his  arms,  he  invokes  the  powers  of  Night,  that  its  mysterious  scents  and 
seductive  charms  may  aid  him  in  his  work  of  the  lovers'  undoing.  In  this  stately  passage 
the  singer  drops  for  a  time  the  satirical  vein  of  the  previous  quartet,  and  gives  the  invo- 
cation with  befitting  solemnity  and  grandeur. 

MEPHISTOPHELES: 

It  was  high  time —  O  night!   draw  around  them  thy  curtain! 

See,    'neath   the   balmy   linden.  Let   naught   waken    alarm,    or   misgivings   ever! 

Our   lovers   devoted   approaching;    'tis   well!        Ye  flowers,  aid  the  enchanting  charm, 
Better  leave  them  alone,  Her  senses  to  bewilder;  till  she  knows  not 

With  the  flow'rs  and  the  moon.  Whether   she   be   not   already   in   Heaven! 

This  is  the  most  impressive  passage  in  the  whole  part  of  Mephistopheles,  and  it  is  mag- 
nificently sung  by  Journet. 

The  lovers  appear  again,  and  Mephistopheles  discreetly  retires  from  view.  The  first  part 
of  the  exquisite  duet  then  follows. 

Tardi  si  fa !  (The  Hour  is  Late !) 

By  Geraldine  Farrar,  Soprano,  and  Enrico  Caruso,  Tenor 

(In  French)     89032      12-inch,   H-OO 
By  Giuseppina  Huguet,  Soprano,  and  Fernando  de  Lucia,  Tenor 

Piano  Ace.     (In  Italian)     92053     12-inch,     3.OO 

Marguerite,  finding  herself  alone  with  Faust,  looks  in  vain  for  Martha,  and  not  seeing 
her,  endeavors  to  bid  farewell  to  her  lover. 

MARGUERITE:  Bright  and  tender,  lingers  o'er  me  I 

The  hour  is  late!     Farewell!  To  love  thy  beauty  too! 

FAUST:  MARGUERITE: 

Oh,  never  leave  me,  now,  I  pray  thee!  Oh!   how  strange,  like  a  spell, 

Why  not  enjoy  this  lovely  night  a  little  longer?        Does  the  evening  bind  me! 
Let  me  gaze  on  the  form  before  me!  And  a  deep  languid  charm 

While  from  yonder  ether  blue  I   feel  without  alarm, 

Look  how  the  star  of  eve,  With  its  melody  enwind  me, 

And  all  my  heart  subdue! 

The  second  part  of  the  duet  begins  with  the  lovely  Sempre  amar,  in  which  Marguerite 
and  Faust  pledge  their  love. 

Dammi  ancor  (Let  Me  Gaze  on  Thy  Beauty) 

By  Alice  Nielsen,  Soprano,  and  Florencio  Constantino,  Tenor 
T?  11      ra  rrM-       N  (In  Italian)      74O76      12-inch,   $1.5O 

Eternelle  (Forever  Thine) 

By  Geraldine  Farrar,  Soprano,  and  Enrico  Caruso,  Tenor 

(In  French)     89031      12-inch,  $4.OO 

And  now  the  lovers  plight  their  troth  in  the  fateful  word  "  Eternelle,"  which,  with  the 
solemn  chords  in  the  wood  wind,  sounds  like  a  true  lover's  sigh. 

Faust,  in  an  exquisite  strain,  calls  on  Heaven,  the  moon  and  stars  to  witness  that  his 
love  is  true. 

MARGUERITE: 
FAUST:  By  that  tender  vow  that  we  have  sworn, 

i^J^^JSTL.  _&«.  F«»  "--"---•,«  t.  .on., 

Hear  me  swear  how  dearly  do  Move  thee!  Oh, 'fair  and  tender  child! 

(Struck  with  a  sudden  fear,   the  timid  girl  begs        Angel,   so  holy,   thou  shalt  control  me. 

Faust  to  depart):  I  obey — but  at  morn? 

MARGUERITE:  MARGUERITE  (eagerly): 

Ah!  begone!  I  dare  not  hear!  Yes.  a'  morn    very  early! 

Ah!  how  I  falter!   I  faint  with  fear!  At  morn>  al!  day! 

Pity,  and  spare  the  heart  of  one  so  lonely!  One' word  at  parting!     Thou  lov'st  me? 

FAUST   (tenderly  protesting)  :  (She  hastens  toward  the  house,  but  stops  at  the 

Oh,  dear  one,  let  me  remain  and  cheer  thee,  door  and  wafts  a  kiss   to   Faust)    I   love   thee! 

Nor  drive  me  hence  with  brow  severe!  FAUST    (in   rapture): 

Marguerite,   I   implore  thee!  Were  it  already  morn!     Now  away! 

115 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 


Elle  ouvre  sa  fenetre  (See !  She  Opens  the 
Window !) 

By  Geraldine  Farrar,  Soprano,  and  Marcel  Journet, 
Bass  (In  French)     89O4O      12-inch,  $4.OO 

Ei  m'ama  (He  Loves  Me !) 

By  Celestina  Boninsegna,  Soprano 

(In  Italian)     88256      12-inch,  $3.OO 

(This  is  the  same  selection  as  89040  with  the  short  dialogue 
between  Faust  and  Mephistopheles  omitted) 

Hurrying  away  full  of  thoughts  of  the  morrow,  when  he 
will  see  his  Marguerite  again,  Faust  is  confronted  by  the  sneering 
Mephistopheles,  who  bars  his  way. 

MEPHISTOPHELES    (contemptuously) : 

Thou   dreamer! 
FAUST: 

Thou   hast   overheard? 
MEPHISTOPHELES: 

I  have — your  parting  with   its  modest  word! 

Go  back,   on  the  spot,  to  your  school  again! 
FAUST: 

Let  me  pass! 
MEPHISTOPHELES: 

Not  a  step;   you  shall  stay  and  overhear 

That  which   she   telleth  the  stars! 

See!   She  opens  the  window! 


Marguerite  had  entered  the  house, 
but  returns  to  the  window,  looks  out  at 
the  night  and  stars,  and  pours  forth  her 
soul  in  song. 

MARGUERITE    (leaning    out    in    the    moon- 
light) : 

He  loves  me!     He  loves  me! 
Repeat  it  again,  bird  that  callest! 
Soft  wind  that  fallest! 
He    loves    me!      Ah,    our    world    is   glo- 

And    more    than    Heaven    above!      The 

air  is  balmy 

With  the  very  breath   of  love! 
How   the  bows  embrace  and  murmur! 
Ah,   speed,  thou   night,   away ! 

One  of  the  most  original  and 
beautiful  of  the  Faust  melodies,  this 
makes  a  fitting  termination  of  the  ex- 
quisitely beautiful  Garden  Scene.  A 
lovely  melody  in  98  time,  divided 
between  flute  and  clarionet,  forms  the 
basis  of  the  movement,  and  in  this 
the  soprano  joins  in  short  dreamy 
phrases. 

Her  longing  for  the  passing  of 
night  and  the  return  of  Faust,  ex- 
pressed in  the  last  ecstatic  phrase,  is 
answered  by  the  cry  of  her  lover,  and 
Mephistopheles,  who  has  been  holding 
Faust  back,  now  releases  him. 

FAUST   (rushing  to  the  window) : 

Marguerite! 
MARGUERITE: 

Ah!    (she  faints  in   his  arms). 
MKPIIISTOPHELES    (with  sardonic   laughter): 

There!      Ha,    ha,    ha!    ha! 

(The    curtain    slowly    falls.) 


VICTOR  BOOK  OF  THE  O  P  E  R  A  -  G  O  U  N  O  D  '  S  FAUST 


Fantasie  from  Garden  Scene 

By  Mischa  Elman,  Violinist     (Piano  ace.)  64122      lO-inch,  $1.OO 

For  those  who  wish  to  enjoy  some  of  the  exquisite  melodies  of  this  act  in  an  instru- 
mental form  only,  the  potpourri  by  Elman  is  included  here. 

In  this  record  the  young  artist  does  not  show  us  feats  of  execution,  but  brings  out  all 
the  sensuous  beauty  of  the  music  which  Gounod  composed  for  this  immortal  scene.  It  is 
one  of  the  loveliest  bits  of  violin  playing  imaginable. 

ACT  IV— The  Desertion 

Quando  a  te  lieta  (When  All  Was  Young) 

By  Louise  Homer,  Contralto  (In  Italian)     882OO     12-inch,  $3.OO 

The  opening  of  the  fourth  scene  shows  the  unhappy  Marguerite  seated  at  her  spinning 
•wheel,  brooding  over  the  sorrows  which  have  overtaken  her  young  life.  Siebel,  her  faithful 
friend,  enters  and  talks  of  vengeance  against  the  absent  Faust,  but  Marguerite  defends  him 
and  sadly  goes  into  the  house.  Left  alone,  Siebel, 
with  gentle  melancholy,  sings  this  exquisite  ro- 
mance, beginning : 

This  song  has  long  been  a  favorite  number  with  many  famous  contraltos,  and  its  lovely 
melody  is  frequently  used  in  our  churches  as  a  setting  to  "Come  Unto  Me,"  and  other 
sacred  words. 


was   young   and    pleasant   May    was 


SIEBEL: 
When 

blc 
I,    thy    poor    friend,    took   part    with   thee 

play: 
Now     that     the     cloud     of     Autumn     dark 

glooming, 

Now  is  for  me,  too,  mournful  the  day! 
The  scene  abruptly  changes  to  the  square  in  front  of  the  cathedral,   with  the  house    of 
Marguerite  shown  at  one  side.     The  victorious  soldiers,  just  returned  from  the  war,  enter, 
accompanied    by   delighted  wives  and  sweethearts,  and  sing  their  famous  Soldiers*  Chorus, 
a  jubilant  inspiring  number,  and  one  of  the  finest  marches  ever  composed. 


Hope  and  delight  have   pass'd  from   life  away! 

We  were  not  born  with  true  love  to  trifle! 
Nor  born  to  part  because  the  wind  blows  cold: 
What    tho'    storm    the    summer    garden    rifle, 
O    Marguerite!      Still    on   the    bough    is    left    a 
leaf  of  gold! 

From  Ditson  libretto,  copy' 1 1896. 


Deponiam  il  brando  (Soldiers'  Chorus) 

By  New  York  Grand  Opera  Chorus  (In  French) 

By  Pryor's  Band      (Double- Faced— See  page  125) 
By  La  Scala  Chorus      (Double-Faced—See,  page  125)     (Italian) 
By  Mountain  Ash  Party  of  "Wales  (In  English) 


74214  12-inch,  I1.5O 

16502  10-inch,       .75 

62624  10-inch,       .75 

5689  10-inch,       .60 


VICTOR    BOOK    OF    THE     O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 

This  number  was  written  for  a  previous  opera  by  Gounod,  but  was  taken  bodily  and 
added  to  Faust,  a  happy  thought  which  added  another  splendid  touch  to  a  successful 
•work. 

Several  renditions  of  this  great  chorus  are  offered,  both  vocal  and  instrumental,  and  a 
complete  translation  of  the  words  is  given. 

(English)  (Italian)  (French) 

The  Soldiers1  Chorus — Deponiam  il  brando — Deposons  les  armes 


Fold  the  flag,  my  brothers, 
Fold  the  flag,  my  brothers, 
Lay  by  the  spear! 

We  come   from  the  battle   once  more; 
Our  pale  praying  mothers, 
Our  wives  and  sisters  dear, 
Our  loss  need  not  deplore, 
Yes!   'tis  a  joy  for  men  victorious, 
To   the   children   by   the   fire,   trembli 
arms, 

ious, 


ling 


by   the   fire,   tr 

To  old  age  of  old  time  glori 
To  talk  of  war's  alarms! 

Glory  and  love  to  the  men  of  old, 
Their  sons  may  copy  their  virtues  bold, 
Courage    in    heart    and    sword    in    hand, 
Ready  to  fight  or  ready  to  die,  for  Fatherland! 
Who    needs    bidding    to    dare,    by    a    trumpet 
blown  ? 


Who    lacks    pity    to    spare,    when    the    field    is 

won? 

Who  would  fly   from   a   foe,   if   alone,   or   last? 
And  boast  he  was  true,  as  cowards  might  do 
When  peril  is  past? 
Glory  and  love  to  the  men  of  old,   etc. 

Now  to  home  again  we  come, 

The  long  and  fiery  strife  of  battle  over; 

Rest  is  pleasant  after  toil  as  hard  as  ours 

Beneath  a  stranger  sun. 

Many  a  maiden  fair  is  waiting  here 

To  greet  her  truant  soldier  lover, 

And    many    a    heart    will    fail    and    brow    grow 

pale, 

To  hear  the  tale  of  peril  he  has  run! 
Glory  and  love  to  the  men   of  old,   etc. 


The  unhappy  Marguerite,  shunned  by  her  companions  and  deserted  by  all  save  the 
faithful  Siebel,  is  brooding  within  the  cottage,  fearing  to  meet  her  brother,  who  has  just 
returned  from  the  war.  Mephistopheles,  not  content  with  the  evil  he  has  already  wrought, 
returns  to  taunt  the  maiden  with  her  fault,  and  sings  this  insulting  and  literally  infernal 
song,  each  verse  of  which  ends  with  a  mocking  laugh. 


VICTOR    BOOK    OF    THE    OPER  A— G  OUNOD'S    FAUST 


Serenade  —  Mephistopheles 
Sleeping) 

By  PolPlancon,  Bass 
By  Marcel  Journet,  Bass 


(Catarina,     "While    You     Play     at 


After  the  second  verse  occurs  this  famous  passag 

ad  lib. 
MBPHISTO./^  £  f  ^ 


(In  French) 
(In  French) 


81040 
74036 


10-inch,  $2.OO 
12-inch,     1.5O 


-  J     J     J     J      I 


Ha!    ha!   ha!    ha!    ha!    ha!    ha!    ha!    ha!   ha!   ha!    ha!   ha!   ha!    ha!  ha!  ha!  ha!  ha! 

with  its  beginning  on  a  high  G  and  its  octave  jumps  to  the  low  G,  concluding  with  a  peal  of 
Mephistophelean  laughter. 

Two  versions,  by  two  famous  exponents  of  the  part  of  Mephistopheles,  are  offered 
for  your  choice. 

MEPHISTOPHELES: 

Thou   who   here  art  soundly  sleeping, 
Close  not  thus  thy  heart, 
Close  not  thus  thy  heart! 
Caterina!   wake  thee!  wake  thee! 
Caterina!    wake!   'tis  thy  lover  near! 
Hearken   to   my   love-lorn   pleading; 
Let  thy  heart  be  interceding, 

Ha,  ha,  ha, 'ha,  ha!  ha!  ha!  ha!  ha!  ha! 

Don't  come  down   until,   my  dear, 

The  nuptial   ring  appear 

On   thy  finger   sparkling  clearly — 

The   wedding-ring — the    ring   shineth   clear. 

Ha!  ha!  ha!  ha!  etc. 

Saterina!  cruel,  cruel! 
ruel  to  deny  to  him  who  loves  thee — 
And  for  thee  doth  mourn  and  sigh — 
A  single  kiss  from  thy  rosy  lips. 
Thus  to  slight  a  faithful  lover, 
Who  so  long  hath  been  a  rover, 
Too  bad,  I  declare! 
Ha,  ha,  ha,  ha,  ha! 
Not  a  single  kiss,  my  dear, 
Unless   the    ring   appear! 
Ha,   ha,   ha,    ha!    etc. 

Plancon's  Mephistopheles  was    invari- 
ably a  finished  performance — witty,  ele- 
gant,   debonaire    and    sonorous.     It   is   a 
polished     Devil    that    he    pictured;    yet 
beneath    the    polish    we    could    see    the 
sinister  Satan  ever  present.     In  his  record 
NE  of  this  mocking  serenade  he  is  at  his  best,  and  the  number  is  sung  with 
the  brilliancy  and  vocal  finish  to  be  expected  of  this  fine  artist. 

Journet's  impersonation  has  also  been  highly  praised,  and  he  sings  the  music  superbly, 
acting  with  freedom  and  with  an  elegance  that  exhibits  the  Prince  of  Darkness  as  a 
gentleman,  though  we  never  lose  sight  of  his  inner  nature.  The  famous  serenade  is 
given  with  much  spirit  by  this  artist. 

Que  voulez-vous,  messieurs?      (What  is  Your  Will?)      (Duel 
Scene) 

By  Enrico  Caruso,    Tenor;    Antonio   Scotti,  Baritone;    and  Marcel 

Journet,  Bass  (In  French)      952O6     12-inch,  $5.00 

By  Ellison  Van  Hoose,  Tenor;  Marcel  Journet,  Bass;  and  Emilio  de 

Gogorza,  Baritone  (In  French)      74OO4     12-inch,     l.SO 

Valentine,  smarting  with  shame  of  his  sister's  disgrace,  comes  from  the  house  and  ex- 
claims, "  What  is  your  will  with  me  ? "  Mephistopheles  replies  in  his  most  molcking 
voice  that  their  "  serenade "  was  not  meant  for  him.  "  For  my  sister,  then  \ "  cries 
Valentine  in  a  rage,  and  draws  his  sword.  The  great  trio  then  follows,  leading  up  to  a 
splendid  climax. 

This  thrilling  trio  forms  one  of  the  most  effective  scenes  in  the  opera,  and  is  closely 
followed  by  the  duel,  in  which  Valentine  is  wounded. 

119 


The  Death  of  Valentine 


VICTOR  BOOK  OF  THE  O  P  E  R  A— G  O  U  N  O  D 'S  FAUST 


Morte  di  Valentino  (Death 
of  Valentine) 

By  Antonio  Scotti,  Baritone,  and 
Grand  Opera  Chorus 
(In  French)  88282  12-inch,  $3.0O 
Leaving  the  wounded  Valentine  on 
the  ground,  the  assailants  rapidly  de- 
part, and  a  crowd  of  soldiers  and 
women  assemble  around  the  dying 
soldier,  the  chorus  here  crying  out  in 
accents  of  pity,  in  which  Marguerite  joins. 
Valentine,  seeing  his  sister,  utters  curses 
upon  her,  the  solemnity  of  the  scene 
enhanced  by  the  sustained  trumpet 
tones  in  the  accompaniment.  The 
throng  endeavor  to  mitigate  the  dying 
man's  anger,  and  Marguerite  begs  for- 
giveness, but  Valentine  dies  with  the 
curse  upon  his  lips. 

This  dramatic  scene  is  vividly  pic- 
tured in  the  wonderful  painting  by 
Kreling,  reproduced  on  the  opposite 
page. 

Scene  de  L'Eglise  (I) 

(Church  Scene,  Part  I) 

By    Geraldine    Farrar,  Soprano,  and 
Marcel  Journet,  Bass 
(In  French)     89035      12-inch,  $4.OO 
We    now    come    to  the  impressive 
and   almost  terrible  scene    outside    the 
church. 

Marguerite,  cursed  by  her  dying  brother,  abandoned  by  all  but  the  faithful  Siebel,  is 
kneeling  at  a  small  altar.  Fearing  to  enter,  and  endeavoring  to  seek  consolation  in  prayer, 
she  supplicates  Heaven  to  accept  her  repentance. 


MARGUERITE: 

Oh,  Thou  who  on  Thy  throne 

Giv'st  an  ear  for   repentance! 

Here,   before   Thy  feet,   let  me  pray! 
MEPHISTOPHELES   (invisible)  : 

Xo!   thou   shall  pray  no  more! 

Let  her  know  ere  she  prayeth, 

Demons  of  ill,  what  is  in  store! 
CHORUS  OF  DEMONS: 

Marguerite ! 
MARGUERITE    (faintly)  : 

Who  calls  me? 
DEMONS: 

Marguerite! 
MARGUERITE   (terrified) : 

I    falter— afraid! 

Oh!  save  me  from  myself! 

Has  even  now  the  hour  of  torture  begun! 


MEPHISTOPHELES   (taunting  her): 

Recollect     the     old     time,     when     the     angel?, 

caressing, 

Did  teach  thee  to  pray. 
Recollect     how     thou     earnest     to     ask     for     a 

blessing 

At  the  dawn   of  the  day ! 
When    thy    feet   did    fall    back,    and   thy   breath 

it  did  falter 

As  though  to  ask  for  aid; 
Recollect   thou    wast   then    of   the    rite   and   the 

altar 

In  thine  innocence  afraid! 
And  now  be  glad  and  hear 
Thy   jTlaymates    do    claim    thee    from    below,    to 

their  home! 
The   worm   to   welcome   thee,   the   fire   to   warm 

thee, 
Wait  but  till  thou  shall  come! 


As  this  terrible  prophecy  is  heard  from  the  invisible  Evil  Spirit,  Marguerite  is  overcome 
\vith  terror  and  sinks  down  almost  fainting. 

Scene  de  L'Eglise  (II)    (Church  Scene,  Part  II) 

By  Geraldine  Farrar,  Soprano;  Marcel  Journet,  Bass;  and 

Metropolitan  Opera  Chorus  (In  French)      89O37      12-inch,  $4.OO 

The  unhappy  girl,  beside  herself  with  terror,  cries  out  wildly : 
Ah!  what  sound  in  the  gloom, 
Is  beneath   me,   around  me? 
Angels    of    wrath?    is    this    your    sentence    of 
cruel    doom  ? 

121 


VICTOR    BOOK    OF    THE    OPERA-GOUNOD'S     FAUST 


Then  as  the  chorale  is  heard 
from  within  the  church,  she  endeavors 
to  break  the  encircling  Satanic  spell 
and  kneels  again  in  prayer. 

CHOIR   (within  the  church): 

When  the  book  shall  be  unsealed, 
When  the  future  be  revealed, 
What  frail  mortal  shall  not  yield? 

MARGUERITE: 

And  I,  the  frailest  of  the  frail, 
Have  most  need  of  Thy  forgiveness! 

MEPHISTOPHELES: 

No!    Let  them  pray,  let  them  weep! 
But  thy  sin  is  deep,  too  deep, 
To  hope   forgiveness!     No! 

CHOIR: 

Where  shall  human  sinner  be, 
How  lie  hid  in  earth  and  sea, 
To  escape  eternity? 

MARGUERITE   (wildly)  : 

Ah,  the  hymn  is  around  and  above  me, 
It  bindeth  a  cord  'round  my  brow! 

MEPHISTOPHELES: 

Farewell,   thy  friends  who  love  thee ! 

And  thy  guardians  above  thee! 

The  past  is  done!   the  payment  now! 

MARGUERITE  AND  CHOIR: 

O    Thou!    on    Thy    throne,    who    dost 

hear   me, 

Let  a  tear   of  mercy  fall   near  me, 
To  pity  and  save! 

MEPHISTOPHELES: 

Marguerite!     Mine  art  thou! 

MARGUERITE:  Ah! 

Tormented  beyond  further  en- 
durance, the  unhappy  girl's  reason 
gives  way,  and  with  a  terrible  cry  she 
falls  lifeless  before  the  church. 

^^ords    are    pitiful    things  in  de- 
KStLIM!  scribing    such   a  scene  as    this,   given 

as  these  two  artists  render  it.  The  conflict  in  the  soul  of  Marguerite,  the  taunting  apos- 
trophe of  Mephistopheles  as  he  strives  to  prevent  his  victim  from  praying,  while  the  sombre 
strains  of  the  Dies  irae  issue  from  the  church,  form  a  musical  picture  which  cannot  be 
adequately  described.  ^  WALpURG,s  NIGHT 

At  the  period  of  the  first  production  of  Faust,  a  ballet  was  an  absolutely  essential  part 
of  an  opera,  if  it  were  to  be  given  at  the  Paris  Opera,  though  to-day  it  is  seldom  performed. 

Gounod  placed  his  ballet  between  the  death  of  Valentine  and  the  Prison  Scene ;  called 
it  a  Walpurgis  Night,  set  it  in  a  mountain  fastness  amid  ruins,  and  called  to  the  scene  the 
classic  queens,  Helen,  Phryne  and  Cleopatra,  who  danced  to  weird  and  distorted  versions  of 
melodies  from  the  opera. 

Ballet  Music    (Part  I— Valse,  "Les  Nubiennes") 


12-inch,  $1.OO 
lO-inch,        .75 


By  L'Orchestre  Symphonique,  Paris 

By  Vessella's  Italian  Band 
The    first   part,  which    in    the    opera  ac- 
companies the   dance    of   the   Nubian   Slaves, 
is    a    most    striking    portion,    beginning    with 
introductory    chords,  followed   by  the   violins 
in  this  delicious  melody : 
afterward  repeated  with  bassoon  obbligato. 

Ballet  Music  No.  2— Adagio  (Cleopatra  and  the  Golden  Cup) 

By  L'Orchestre  Symphonique,  Paris  58O18     12-inch,  $1.OO 

The  second  part  is  the  adagio  movement  accompanying  the  scene  in  which  the 
Nubian  Slaves  drink  from  golden  cups  the  poisons  of  Cleopatra,  who  herself  moistens  her 
lips  from  a  vase  in  which  she  has  dissolved  her  most  precious  pearls. 

*~Doublc.Faccd  Record— For  title  of  opposite  side  see  DOUBLE-FACED  FAUST  RECORDS,  page  125. 

122 


VICTOR    BOOK    OF    THE     O  P  E  R  A  —  G  O  U  N  O  D  '  S    FAUST 

Ballet  Music  Nos.  5  and  6  (Les  Troyennes  et  Variation) 

By  L'Orchestre  Symphonique,  Paris  58O2O     12-inch,  $1.OO 

By  Vessella's  Italian  Band  *17284     lO-inch,        .75 

These  two  parts  are  heard  during  the  appearance  of  the  goddess  Phryne,  who  rises,  a 
veiled  apparition,  and  commands  the  dance  to  recommence. 

Ballet  Music— Finale,  "  Danse  de  Phryne  " 

By  L'Orchestre  Symphonique,  Paris  58O21      12-inch,  $1.0O 

The  finale  is  brisk  in  movement,  rising  to  a  wild  climax  and  ending  suddenly  with 
a  crashing  chord.  It  is  a  most  effective  and  exciting  bit  of  ballet  composition,  and  accom- 
panies the  dance  of  Phryne,  who  surpasses  all  her  rivals  and  wins  the  favor  of  Faust,  arousing 
the  anger  and  jealousy  of  the  courtesans — Helen,  Cleopatra,  Aspasia  and  Lais — and  the  dance 
develops  into  a  bacchanalian  frenzy,  graphically  pictured  in  Gounod's  music. 

ACT  V 

SCENE—  The  'Prison  Cell  of  Marguerite 

The  short  final  act  of  Faust  is  truly  one  of  the  grandest  of  operatic  compositions, 
Goethe's  story  giving  Gounod  ample  opportunity  for  some  most  dramatic  •writing. 
Marguerite's  reason  is  gone — grief  and  remorse  have  driven  her  insane,  and. in  a  frenzy  she 
has  destroyed  her  child.  Condemned  to  death,  she  lies  in  prison,  into  which  Mephistopheles 
and  Faust,  defying  bolts  and  bars,  have  entered. 

"  Mon  coeur  est  penetre  d'epouvante ! "  (My  Heart  is  Torn) 

By  Geraldine  Farrar  and  Enrico  Caruso  (In  French)     89033     12-inch,  $4.OO 


Gazing  at  the  unhappy  girl,  who  is  sleep-        ^-gLp^«^=^ 
ing  on  a  pallet  of  straw,  Faust  cries  : 

and,  as  the  full  measure  of  his  own  guilt  comes  to  him,  continues  : 

FAUST:  MARGUERITE   (awaking): 

Oh,    what  anguish  !      She  lies  there  at  my   feet  Ah,    do    I    hear    once   again,    the    song    of    time 

A  young  and  lovely  being,  imprisoned  here  gone  by  — 

As  if  herself,   not   I,   were  guilty!  'Twas  not  the  cry   of  the  demons  — 

No    wonder    that    her    fright    has    reason    ta'en  "Tis  his  own  voice  I  hear! 

away! 
Marguerite!     Marguerite! 

She  forgets  all  but  that  her  loved   one  is  before  her,  and  sings  in  a  transport  of  love 

MARGUERITE:  FAUST  (supporting  her  tenderly): 

Ah!     I  love  thee  only!  Yes,  I  love  thee  only! 

Since  thou  cam'st  to  find  me  Let  who  will,  now  goad 

No  tears  more  shall  blind  me!  Or  mock  me,  or  upbraid. 

Take  me  up  to   Heaven,  Earth   will   grow  as  Heaven. 

To  Heaven  by  thy  aid!  By  thy  beauty  made! 

Attends  !  voici  la  rue  (This  is  the  Fair) 

By  Geraldine  Farrar  and  Enrico  Caruso  (In  French)     89O34     12-inch,  $4.OO 

Marguerite's  mind  wandering,  she  sings  dreamily  of  the  Fair,  where  first  Faust  appeared 
to  her:  'Tis  the  Fair! 

Where    I    was    seen    by   you,    in    happy    days 

The  day  your  eye  did  not  dare 

To  meet  my  eye  ! 

Marguerite  now  rehearses  the   first  meeting  with  Faust,  his  respectful  greeting,  and  her 
modest  and  dignified  reply  : 

"High  born  and  lovely  maid,   forgive  my  hum-  Every  flower   is   incense   breathing, 

ble    duty;  And  through  the  still   evening  air 

Let  me  your  willing  slave,  attend  you  home  A  cloud   of  dew,    with  perfume   wreathing; 

to-day?"  Hark!    how   the   nightingale  above 

"No    my    lord!    not    a    lady    am    I,    nor    yet    a  To   every   glowing  crimson    rose 

beauty,  Fondly  murmurs  thy  love! 

Not  a  lady,  not  a  beauty,  FAUST    (urging  her)  : 

And    do    not    need    an    arm    to    help    me    on  Yes!   but  come!     They  shall  not  harm  thee! 

my  way!"  Come   away! 

FAUST   (in  despair):  There   is  yet  time   to   save   thee! 

Come  away!      If  thou  lov'st  me!  Marguerite!      Thou   shalt   not  perish! 

MARGUERITE      (dreamily       her     thoughts     in      the  MARGUERITE   (listlessly)  : 

Past):  'Tis  all  too  late!     Here  let  me  die! 

How  my  garden  is  fresh  and  fair!  Farewell!      My  memory   live   to   cherish! 


*Douife-Fac«/  Record—  For  title  o/opp<M/fc  side  «e  DOUBLE-FACED  FAUST  RECORDS,  page  125. 

123 


The  Redemption  of  Marguerite 


VICTOR    BOOK     OF    THE     QPER A— G  OUNOD'S    FAUST 

The  impassioned  duet  then  follows,  Faust  endeavoring  to  persuade  her  to  escape ;  but 
the  poor  weak  mind  cannot  grasp  the  idea  of  safety.  The  duet  is  interrupted  by  the  im- 
patient Mephistopheles,  whose  brutal  "Alerte  "  begins  the  final  trio. 

Trio — Alerte!  ou  vous  etes  perdus  !   (Then  Leave  Her  !) 

By  Farrar,  Caruso  and  Journet  (In  French)     952O3     12-inch,  $5.0O 

By  Victor  Opera  Trio  (In  English)     60O97     10-inch,        .75 

By  Huguet,  Lara  and  de  Luna  (Double-faced— See  below)  62O85     10-inch,        .75 

Mephistopheles,  fearing  the  coming  of  the  jailers,  and  uncertain  of  his  own  power,  cries  out : 

Then   leave   her,   then   leave   her,   or   remain   to         What   does   he    here!      He    who   forbade    me    to 

your  shame;  pray! 

If   it   please  you  to   stay,   mine  is  no  more  the     MEPHISTOPHELES    (to   Faust)  : 

game !  Let  us  go,  ere  with  dawn 

MARGUERITE     (in     horror,     recognizing     the     Evil         Doth  justice  come  on; 

One,  the  cause  of  all  her  woes) :  Hark!     the     horses     panting    in    the    courtyard 

Who  is  there!     Who  is  there'  below, 

Dost  thou  see,  there  in  the  shadow;  To  bear  us  away! 

Come,   ere  'tis  day! 

As  he  sings,  the  tramping  and  neighing  of  horses  are  heard  in  the  accompaniment. 
MARGUERITE    (with  fresh  courage,   defying   him) : 
Away,   for   I   will   pray!    (in   rapture) 
Holy   Angels,   in   Heaven  bless'd 
My  spirit  longs  with  thee  to   rest! 
FAUST:  Come,  ere  'tis  too  late  to  save  thee! 

The  inspiring  trio,  perhaps  the  most  thrilling  and  moving  of  all  operatic  compositions, 
then   commences ;  Marguerite  continuing  her  prayer,  Faust  urging  her  to  follow  him,  while 
Mephistopheles,  in  desperation,  repeats  his  warning  to  Faust. 
MEPHISTOPHELES:  MARGUERITE: 

Let  us  leave  her!  Holy  angels,  in  Heaven  bless'd, 

Come  away!  the  dawn  is  grey,  My   spirit   longs  with  thee   to   rest! 

Come,  ere  they  claim  thee!  Great    Heaven,    pardon    grant,    I    implore    thee, 

FAUST:  For  soon  shall   I   appear  before  thee! 

Lean  on  my  breast.  (She  dies.) 

O  come!    I'm  here  to  save  thee! 

At  the  close  of  the  trio,  Mephistopheles  is  about  to  triumph  over  the  soul  of  his  victim, 
when  a  company  of  angels  appear  and  announce  that  Marguerite  is  saved.  The  Evil  One, 
dragging  Faust  with  him,  disappears  in  a  fiery  abyss. 


DOUBLE-FACED  AND  MISCELLANEOUS  FAUST  RECORDS 
Gems  from  Faust 

"  Kermesse  Waltz  " — "  Flowe.-  Song  " — "  Jewel  Song" — "  Garden  Scene  " — "  Prison 

Scene  "-"  Soldiers'  Chorus  "           fiy  ^^  ^^  ^                ^^  J  ^_  .^  $  ^  QQ 

Selection  from  Faust                                                By  Sousa's  Band  31 1O4  12-inch  l.OO 

/Selection  from  Faust                                                 By  Victor  Band U-~,  i*>;nn^  i  <»* 

1      Crown  Diamond's  Overture                                                By  Victor  Bandf 35016  12-mch'  *•» 

/Flower  Song                              By  Corinne  Morgan     (In  English)}  „,*„,  „   .     ,  .  _- 

\     Drink  To  Me  Only  With  Thine  Eyes               By  Harry  Macdonough{35O8&  12-lnch'  »•» 

(Aria  dei  gioielli  (Jewel  Song)                 By  Huguet     (In  Italian)},  ai ,_  ,  „   .     ,  ,  ,,, 

(La  Kermesse  (Kermesse  Scene)  By  La  Scala  Chorus  (In  Italian)  fb816°  12-mch,  1.25 

/Dio  possente                                By  Francesco  Cigada     (In  Italian)},  at?*  11   •     u  i  <»< 

\     Favorita— Quando  le  soglie          By  Mileri  and  Minolfi     (In  Italian) ,f68275  12-mch,  1.25 

(Alerte !  ou  vous  etes  perdus  !            Huguet,  Lara  and  De  Luna ( ,,,„„,,  ,  n  .     .  _- 

\Le  parlate  d'amor   (Flower  Song)                    By  Emma  Zaccariaf62085  °-mch'  '75 

(Deponiam  il  brando   (Soldiers' Chorus)            By  La  Scala  Cho\ ,_,,.,  .„   .      .  7,- 

I      DonPasquale—Sognosoaveecasto        ByAcerbi,  Tenor      (In  Italian)  /&2d24 

|Io  voglio  il  piacer               By  Pini-Corsi  and  Sillich     (In  Italian)  \  ^  j  ?  .  ifj-inch  75 

\     Forza  del  Destino — Solenne  in  quest'  ora  Colazza  and  Caronna\ 

JSoldiers'  Chorus                                                              Pryor's  Bandl  , , -n9  ,  o  •      i  -- 

1      Devil's  March     (von  Suppe)                                              Pryor's  Bandf  165°2  ]     -mch'  '75 

("Waltz  from  Kermesse  Scene                                       Pryor's  Band\  .,-,_„  ,  n  •     i  7* 

<      tit          n  f               /  r        »jr    '•      \                                /ii      T"         fi.'OjoL  iu— men,  -t  D 
\      In  Happy  Moments     (jrom  Montana)                                  Jtlan  turner] 

(Ballet  Music     "Dance  of  Nubian  Slaves"         Vessella's  Band! 

Ballet  Music     ("Dance  of  the  Trojan  Maidens"  and  "Mirror              17284  lO-inch,  .75 
Dance")                                                    By  Vessella's  Italian  Band] 


(German)  (Italian) 

DIE  FAVORITIN  LA  FAVORITA 

(Dee  Fah-ve-ree'-tin)  (Lah  Fah-ooh-ree' -tah) 

(English) 

THE  FAVORITE 

OPERA  IN  FOUR  ACTS 

Text  by  Alphonse  Royer  and  Gustave  Waez,  adapted  from  a  drama  of  Baculard- 
Darnaud,  "  Le  Comte  de  Comminges."  Music  by  Gaetano  Donizetti.  In  its  present  form  it 
was  first  produced  at  the  Academic,  Paris,  December  2,  1840.  First  London  production  Feb- 
ruary 16,  1847.  Produced  in  America  July  29,  1853. 


Cast 

ALPHONSO  XI,  King  of  Castile Baritone 

FERDINAND,  a  young  novice  of  the  Convent  of  St.  James  of  Compostella, 

afterwards  an  officer Tenor 

DON  CASPAR,  the  King's  Minister Tenor 

BALTHAZAR,  Superior  of  the  Convent  of  St.  James Bass 

LEONORA  Ol  GUSMANN,  the  King's  favorite Soprano 

INEZ,  her  confidante Soprano 

Courtiers,  Guards,  Monks,  Attendants,  etc. 


Scene  and  Period :      The  action  is  supposed  to  tal^e  place  in  Castile,  about  the  year  1 340. 

Favorita  so  abounds  with  charming  airs,  fine  music  and  striking  dramatic  situations  that 
it  is  difficult  to  account  for  the  neglect  of  it  in  America.  The  opera  was  revived,  it  is  true, 
in  1905,  with  Caruso,  Walker,  Scotti  and  Plancon,  but  has  not  since  been  given. 

However,  for  the  consolation  of  those  who  admire  Donizetti's  beautiful  work,  the  Victor 
has  collected  all  the  best  airs  and  several  of  the  stirring  concerted  numbers,  so  that  the 
opera,  given  by  famous  artists,  may  be  enjoyed  in  the  comfort  and  seclusion  of  the  home. 

ACT  I 

SCENE—  The  Monastery  of  St.  James 

The  rise  of  the  curtain  discloses  a  Spanish  cloister  with  its  secluded  garden  and  weather- 
stained  wall,  while  in  the  distance  is  a  glimpse  of  the  tiled  roofs  of  the  city.  Ferdinand,  a 
novice  in  the  monastery,  confesses  to  the  Prior,  Balthazar,  that  he  has  seen  a  beautiful 
woman  and  has  fallen  in  love  with  her.  He  describes  his  meeting  with  the  fair  one  in  a 
lovely  song,  Una  Vergine. 

Una  vergine    (Like  An  Angel) 

By  Florencio  Constantino,  Tenor  (In  Italian)     64O9O      lO-inch,     $1.0O 

The  good  Prior  is  horrified  and  urges  him  to  confess  and  repent. 

Non  sai  tu  che  d'un  giusto  (Know'st  Thou) 

By  Gino  Martinez- Patti,  Tenor,  and  Cesare  Preve,  Bass 

(Double-faced— See  page  130)  (In  Italian)     62635      lO-inch,      $O.75 

BALTHAZAR: 

Ah,    my   son,    my   life's   latest   solace,  FERDINAND    (in   rapture) : 

May  thy  innocence  rescue  thee  still!  Yes,  ador'd  one!   this  heart's  dearest  idol! 

Thou,  thou  who  shouldst  be  my  successor,  For  thee  I  will  break  ev'ry  tie! 

And   all    my   solemn   duties   fill.  To  thee  all   my  soul   I   surrender — 

FERDINAND:  At  thy  dear  feet  content  to  die! 

Ah,  father,  I  love  her!  Forgive   me!      Father,   I   go! 

BALTHAZAR:  BALTHAZAR: 

This   woman,    wretched   one!    oh,   knowest   thou         Hence,   audacious!   away  in   madness! 

Who  has  lur'd  thee  thus  to  shame?  I'll  not  curse  thee!   no — depart! 

Knowest   thou   her,    for   whom   thy   holiest   vow         If  Heaven  spare   thee,  soon  in   sadness, 

Is  forfeit?     Her   rank — her  name?  Thou'lt   hither  bring  a   broken   heart! 

FERDINAND:  FERDINAND: 

I  know  her  not;  but  I  love  her!  Ah,   dear   Idol!    this  heart   so   enchaining, 

BALTHAZAR:  In   vain  thy  spell   I   strive  to  break! 

Begone!    too   profane!      Fly  these   cloisters  To   thee   only  my   truth   maintaining, 

Far,  far  from  hence! — avoid  my  sight.  My  cloister  I  forsake! 


VICTOR      BOOK      OF      THE      OPERA  — LA      FAVORITA 


The  Prior's  pleading  fails  to  restore  Ferdinand  to  his  duty, 
and  he  leaves  the  convent  to  search  for  the  beautiful  unknown. 
As  he  goes  he  turns  and  stretches  out  his  arms  toward 
Balthazar,  who  averts  his  head. 

The  scene  changes  to  the  Island  of  Leon,  •where  Inez, 
an  attendant  of  Leonora,  and  a  chorus  of  maidens  are  gather- 
ing flowers.  They  sing  a  melodious  chorus, 

Bei  raggi  lucenti  (Ye  Beams  of  Gold) 

By  Ida  Roselli,  Soprano,  and  La  Scala 

Chorus  (In  Italian)  *62635  lO-inch,  $O.75 
which  tells  of  the  love  which  their  mistress  feels  for  a  hand- 
some youth  whom  she  has  seen  but  once,  and  who  is  now 
on  his  way  to  the  Isle  at  Leonora's  request. 

Ferdinand,  who,  shortly  after  his  departure  from  the 
monastery,  had  received  a  note  bidding  him  come  to  the 
Isle  of  Leon,  now  arrives  in  a  boat,  blindfolded,  is  assisted 
to  land  by  the  maidens,  and  the  bandage  removed.  He 
gazes  around  him  wonderingly,  and  asks  Inez  the  name  of 
the  unknown  lady  who  has  sent  for  him.  She  smilingly 
refuses,  and  tells  him  only  her  mistress  may  reveal  the  secret. 
Leonora  now  appears,  and  the  maidens  depart.  A  tender  love 
scene  follows,  but  the»Favorite  is  anxious,  fearing  that  Ferdi- 
nand will  learn  that  she  is  the  King's  mistress.  She  shows 
him  a  parchment  which  she  says  will  insure  his  future,  and 
then  bids  him  leave  her  forever. 

Fia  vero  !  lasciarti  !  (Fly  From  Thee!) 

By  Clotilde  Esposito  and  Sig.  Martinez-Patti  *683O9     12-inch,     $1.25 
Ferdinand,  beginning  the  duet,  indignantly  refuses,  saying : 
FERDINAND:  Thy  vows  and  thy  love! 

Fly  from  thee!      Oh,  never!  No  longer  regret  me — 

'Twere  madness  to  try  Mine  image  remove. 

From    thee   to    sever;  The   rose  tho*  she  fair  be, 

'Twere  better  to  die !  A  canker  that  wears, 

LEONORA:  Can  never  restor'd  be 

Farewell!      Go;    forget   me!  By  anguish  or  tears! 

Inez  enters  and  whispers  to  Leonora  that  the  King  has  arrived  at  the  villa.  Leonora  gives 
Ferdinand  the  parchment  and  bids  him  again  to  depart,  then  exits  hastily.  Ferdinand  reads 
it  and  is  delighted  to  find  that  it  is  a  captain's  commission,  and  declares  that  he  will  win 
great  honors  to  lay  at  the  feet  of  his  love. 

ACT  II 

SCENE— Gardens  of  the  Alcazar  Palace 

The  King  enters  and  admires  the  beauty  of  the  palace,  which  he  has  just  acquired  from 
the  Moors  by  the  victory  of  his  army,  led  by  the  young  captain,  Ferdinand.  A  message  comes 
from  Balthazar,  the  King's  father-in-law,  who  is  at  the  head  of  the  powerful  Church  party, 
and  Alfonso  is  threatened  with  the  wrath  of  the  Church  if  he  does  not  give  up  Leonora.  In  a 
fine  air  he  declares  he  will  not  submit. 

Vien  Leonora  (Leonora,  Thou  Alone) 

By  Francesco  Cigada,  Baritone  (In  Italian)     *68O61      12-inch,     $1.25 

Leonora  enters  and  the  King  tenderly  asks  the  cause  of  her  melancholy.  She  tells  him 
her  position  is  intolerable,  and  asks  that  she  be  allowed  to  leave  the  Court.  She  begins 
the  duet,  Quando  le  soglie. 

Quando  le  soglie  (From  My  Father's  Halls) 

By  Lina  Mileri  and  Renzo  Minolfi  (In  Italian)     *68275      12-inch,     $1.25 

Ah !  1'alto  ardor  (Oh,  Love !) 

By  Margarete  Matzenauer  and  Pasquale  Amato  89O62      12-inch,     $4-OO 

Leonora  recalls  the  circumstances  connected  with  her  departure  from  her  father's  home. 

*bouble-FaceJ  Record— For IHk  o/opposrte  side  **  DOUBLE-FACED  LA  FA  VORITA  RECORDS,  page  130. 

127 


VICTOR      BOOK      OF      THE      OPERA  — LA      FAVORITA 


LEONORA: 

When  from  my  father's  halls  you  bore  me, 
A  poor  simple  maiden,  betray'd,  deceived, 
Alas!  within  these  walls  I  hop'd,  fulfilled 
Would  be  those  vows  so  sworn! 

KING  (with  remorse):     No  more! 

LEONORA: 

Silent   and  alone,   shunned  by   the  world, 
Live   I   in   the   dark:   the  mistress  of  the   King. 
Vainly   glitter  these  jewels, 
Vainly   bloom    these   flowers   around   me. 
The  lip  may  smile,  but  the  heart  is  weeping! 

KING: 

But  tell  me  the  cause  of  your  grief. 

LEONORA: 

Ah!  ask  not  to  know  it. 

Permit  me,  sir,  to  leave  this  court! 

KING: 

No  man  can  love  thee  more  than  I! 

LEONORA: 

I  dare  not  look  so  high  as  thee. 

KING   (aside)  : 

Oh,  love!   soft  love!   her  bosom  filling, 
With   sweet   response   each  fibre   thrilling, 
Inspire   her  heart! 

LEONORA   (aside)  : 

Oh,   love,   alas!   this  bosom   filling, 
With   secret   woe   each   fibre   thrilling! 

KING: 

Disperse  this   gloom;   enjoy  the   feasts 
^^^  Spread  'round  thee  by  my  tender  love! 

MLLE.     BAILAC    AS     FAVORITA 

They  are  interrupted  by  the  entrance  of  Balthazar,  who  brings  the  mandate  from  the 
Pope.  The  King  defies  him,  saying  : 

KING:  This  lady  I   shall  wed,   and  whoever 

My  will  is  sacred!     On  my  brow  Doubts  my  right  shall  feel 

Rests  the   royal   diadem!  The  anger  of  a  monarch! 

Balthazar  then  begins   the  finale,  one  of  the  most  impressive  of  the   concerted  numbers. 

Ah!  paventa  il  furor  (The  Wrath  of  Heaven) 

By  Amelia  Codolini,  Francesco  Cigada,  Aristodemo  Sillich  and  La  Scala  Chorus 

(In  Italian)     *16536      lO-inch,      $O.75 

BALTHAZAR:  KING: 

Do  not  call  the  wrath  of  God,  Still   this   sudden  tempest 

Avenging   upon   thee;  Shall  not  bend  me  nor  break  me; 

For  it  visiteth  terribly  Calm   thee,  my   Leonora, 

Those  who  do  not  bow  to  His  will.  Bright  is  thy   destiny. 

LEONORA  AND  CHORUS:  BALTHAZAR    (denouncing  Leonora): 

I   tremble  with  fear  All   ye  that   hear  me 

In   my   inmost   heart,  Shun  the  adultress; 

Lest  this  terrible  blow  Accurs'd  of  Heaven  is  she! 

Should  crush   my   fondest   hopes. 

The  curtain  falls  on  a  dramatic  tableau,  —  Leonora  weeping  with  shame,  the  King  hesita- 
ting between  love  and  ambition,  while  the  terrible  Balthazar  thunders  the  papal  curse  down 
upon  the  guilty  pair. 


12-inch,  $3.OO 
12-inch,  3.OO 
10-inch,  .75 


SCENE  —  A  Room  in  the  Palace 

Ferdinand,  who  has  won  distinction  in  the  wars,  is  received  by  the  King,  who  asks  him 
to  name  his  own  reward.  The  young  captain  asks  for  the  hand  of  a  noble  lady  to  whom 
he  owes  all  his  renown,  and  when  the  King  asks  her  name  he  points  to  Leonora.  Alfonso 
gazes  at  her  coldly  and  sternly  and  sings  his  ironical  air. 

A  tanto  amor  (Thou  Flow'r  Beloved) 

By  Mario  Ancona,  Baritone  (In  Italian)     88O63 

By  Mattia  Battistini,  Baritone  (In  Italian)     92O45 

By  Francesco  Cigada,  Baritone  (In  Italian)   *16536 


ALFONSO: 

Thou  flow'r  belov'd. 

And   in   hope's   garden   cherish'd, 

With   sighs   and   tears   refresh'd, 


Both   night   and   morn: 
Fad'st    from    my   breast, 
Thine   ev'ry   beauty   perish 
And  in   thy  stead  alone  ha 


re  left  a   thorn! 


^Double-Faced Record-Far  title  of  opposite  side  see  DOUBLE-FACED  LA  FA  VORITA  RECORDS,  page  130. 

128 


VICTOR   BOOK   OF   THE   OPERA  — LA   FAVORITA 

He  consents  to  the  marriage,  however,  and  announcing  that  they  must  prepare  to  wed  in 
an  hour,  goes  out  with  Ferdinand.  Leonora,  left  alone,  decides  to  sacrifice  her  own  feeling 
and  renounce  Ferdinand.  She  gives  expression  to  her  mingled  joy  and  despair  in  a  noble  air : 

O  mio  Fernando  (Oh,  My  Ferdinand) 

By  Margarete  Matzenauer,  Mezzo-Soprano     (In  Italian)     88363     12-inch,  $3.0O 

LEONORA:  And  thou  deceive,  I'll  die! 

Oh,     my    Ferdinand,     were    mine    this    earth's         Oh,  Death!     Where  art  thou? 

whole  treasure —  I  call  thee!   I  await  thee! 

Mine,  too,  each  star  of  yon  blue  heav'n:  Approach!  lead  to  the  tomb. 

To  purchase  thee  one  pleasure,  O'er  this  brow  pale  cypress  twine, 

All,  all  at  once  by  this  fond  hand  were  giv'n !         Roses  are  too  bright  and  glowing — 
All    should    be    thine,    save   my   poor    name    de-         O'er  this  face  a  dark  veil  throwing; 

graded;  Tears,  for  smiles,  be  sadly  flowing — 

And  thine  should  be,  too,  my  life's  latest  sigh!         Deck  with  sable  plumes  the  shrine: 
Ah!      But    ere    I    give    to    thee    a    name    thus         Yes,  I'll  die,  my  shame  avowing, 

clouded,  Ere,  despis'd,  I  will  be  thine! 

Her  resolution  is  no  sooner  taken,  however,  than  she  resolves  to  tell  him  all  and  throw 
herself  on  his  mercy. 

She  calls  Inez,  and  bidding  her  seek  out  Ferdinand  and  reveal  all,  goes  to  her  apartments 
to  prepare  for  the  wedding.  Inez  prepares  to  obey,  but  on  her  way  is  arrested  by  the 
order  of  the  King. 

The  King  enters  with  Ferdinand,  to  whom  he  gives  the  title  of  Count  of  Zamora.  Leonora 
appears  and  is  overjoyed  to  see  Ferdinand  still  looking  at  her  lovingly,  not  knowing  that  Inez 
has  failed  in  her  mission,  and  that  he  is  yet  ignorant  of  her  secret. 

The  ceremony  is  performed  and  the  pair  are  presented  to  the  Court,  but  are  met  with 
cold  and  averted  looks.  Ferdinand,  although  not  aware  of  the  cause,  resents  this  and  is  about 
to  draw  his  sword  when  Balthazar  enters  and  demands  peace. 

When  he  learns  of  the  wedding  he  is  horrified,  and  tells  Ferdinand  he  has  married  the 
King's  mistress.  Ferdinand  is  furious  and  denounces  the  King,  who,  seized  with  sudden 
remorse,  begins  the  great  finale  to  Act  III. 

Orsu,  Fernando  (Stay!  Hear  Me,  Ferdinand!) 

By  Maria  Cappiello,  Mezzo-Soprano ;  Giuseppe  Acerbi,  Tenor; 

Francesco  Cigada,  Baritone  (In  Italian)     *62659     lO-inch,     $O.75 

Ferdinand  hurls  at  the  King's  feet  his  badge  of  honor  and  his  broken  sword  and  leaves 
the  Court,  followed  by  Balthazar.  Leonora  faints  as  the  curtain  falls. 

ACT  IV 

SCENE — The  Cloisters  of  the  Monastery 

The  opening  number  in  this  act  is  the  impressive  Splendon  piu  belle,  considered  by  many 
critics  to  be  the  finest  of  the  Favorita  numbers.  The  scene  represents  the  cloister  at  the 
Convent  of  St.  James  of  Compostella,  illumined  by  the  rays  of  the  rising  sun.  The  monks 
have  assembled  to  welcome  back  the  prodigal  Ferdinand,  who,  heartbroken  at  the  falseness 
of  Leonora,  is  returning  to  renew  his  vows.  The  ceremonies  are  conducted  by  Balthazar,  who 
begins  this  great  number. 

Splendon  piu  belle  in  ciel  le  stelle  (In  Heavenly  Splendor) 

By  Marcel  Journet  and  Metropolitan  Chorus  74273     12-in.,  $1.5O 

By  Torres  de  Luna,  Bass,  and  La  Scala  Chorus  (In  Italian)  *68061      12-in.,     1.25 

By  Perello  de  Segurola,  Bass,  and  La  Scala  Chorus  (Italian)  *16551      lO-in.,       .75 

Balthazar  entreats  him  to  lift  his  eyes  from  earthly  things  and  contemplate  the  stars, 

which  typify  a  forgiving  Heaven. 

The  monks  now  go  into  the  chapel  to  prepare  for  the  final  rites,  and  Ferdinand,  left  alone, 
casts  a  look  behind  him  to  the  world  he  has  left  forever,  and  sings  his  lovely  Spirto  gentil. 

Spirto  gentil  (Spirit  So  Fair) 

By  Enrico  Caruso,  Tenor  (In  Italian)     88OO4     12-inch.     $3.OO 

By  Gennaro  de  Tura,  Tenor  (In  Italian)      76O12     12-inch,       2.00 

By  Evan  Williams,  Tenor  (In  English)      74141      12-inch,       1.50 


*  Double-Face  J  Record— For  title  of  opposite  ,ide  see  DOUBLE-FACED  LA  FA  VORITA  RECORDS,  page  130. 

129 


VICTOR      BOOK      OF      THE      OPERA  — LA      F  AV  O  R  I TA 

FERDINAND:  In  thee   delighting,   all   else   sec 

Spirit  so  fair,   brightly  descending,  A   father's   warning,    my    country,    nx 

Then  like  a  dream  all  sadly  ending,  Ah,  faithless  dame,  a  passion  inviting, 
Hence  from  my  heart,  vision  deceiving,  Fair   honor   blighting,   branding   my  name, 

Phantom  of  love,  grief  only  leaving,  Grief  alone  thou  leav'st,  phantom  of  love! 

The  monks  now  lead  Ferdinand  to  the  chapel.  Leonora,  who  has  come  hither  disguised 
as  a  novice  to  entreat  forgiveness  of  her  lover,  hears  him  take  the  final  vows  and  despair- 
ingly falls  at  the  altar.  Ferdinand  comes  from  the  chapel,  and  seeing  a  poor  novice,  assists 
him  to  rise.  He  is  at  first  horrified  to  recognize  Leonora,  and  bids  her  begone,  but  she 
pleads  for  mercy. 

LEONORA:  Waken  once  more  in   my  heart! 

Ah,  heavenlike,  thy  mercy  showing,  (Impetuously.) 

Turn  not  thy  heart  away  from  me!  I  love  thee! 

FERDINAND   (his  love  returning)  :  Come,  ah,  come,   'tis  vain  restraining 

From   tears  thy   words   persuasion   borrow,  Passion's   torrent   onward  that   dashes, 

Like  a   spell   their  softness  impart,  O'er  my  bosom  still  art  thou  reiening 
Those   sighs,   the   hope   of   some  bright  morrow         And   we  together  will   live  and  die! 

Pietoso  al  par  d'un  Nume  (As  Merciful  as  God) 

By  Clotilde  Esposito,  Soprano,  and  Martinez-Patti,  Tenor 

(Double-faced — See  below)    (In  Italian)     62659      lO-inch,     $O.75 
Again  gently  reminding  him  of  his  vows,  she  falls  from  weakness  and  privation. 

LEONORA:  LEONORA  (feebly): 

No,   no!       'Tis  Heaven  calls  thee!  Heav'n   forgive  me,   now  I'm  dying, 

FERDINAND    (recklessly) :  Ferdinand,   I  am  happy, 

Yet  more  power  hath  love;  We  shall  hereafter  meet  no  more  to  be  parted, 

Come,  could  I  possess  thee  Farewell,   now,   farewell! 

There's  naught  I   would  not  brave,  (She  dies.) 

Aye,  here  and  hereafter! 

(Curtain) 


DOUBLE-FACED  AND  MISCELLANEOUS  FAVORITA  RECORDS 

(Quando  le  soglie     (From  My  Father's  Halls)         By  Lina     } 
Mileri,  Contralto,  and  Renzo  Minolfi,  Baritone     (Italian)  [68275      12-inch,  $1.25 
Faust — Dio  possente  (Gounod)       By  Francesco  Cigada    (In  Italian)} 
(Fia  vero!  lasciarti!  (Fly  From  Thee!)      Clotilde  Esposito, 


Soprano,  and  Sig.  Martinez-Patti,  Tenor       (In  Italian) 


683O9      12-inch,     1.25 


Norma — In  mia  mono  alfin  tu  sei          Giacomelli  and  Martinez-Patti 
Vien  Leonora      (Leonora,  Thou  Alone)  By    Francesco   ] 

Cigada,  Baritone  (In  Ilalian)( ,  Qn, .      ._   -     ,        ,  ~f 

Splendon  piu  belle  in  ciel    (In  Heavenly  Splendor)  By       68°61      12-mch<     1'2j 

Torres  de  Luna,  Bass,  and  La  Scala  Chorus          (In  Italian)} 

1A  tanto  amor    (Flow'r  Beloved)  By  Cigada     (In  Italian)} 

Ah!    paventa    il   furore     (The  Wrath  of  Heaven)  By    Il6536     lO-inch,        .75 

Codolini,  Cigada  and  Sillich  (In  Italian) } 

on  sai  tu  che  d'un  giusto     (Know'st  Thou)        By  Gino 

Martinez-Patti,  Tenor,  and  Cesare  Preve,  Bass      (Italian) 
Bei  raggi  lucenti     (Ye  Beams  of  Gold)         By  Ida  Roselli, 

Soprano,  and  La  Scala  Chorus  (In  Italian) 

Orsu,  Fernando  (Stay !  Hear  Me,  Fernando !)  By  Maria 
Cappiello,  Mezzo-Soprano ;  Giuseppe  Acerbi,  Tenor ; 
Francesco  Cigada,  Baritone  (In  Italian) 

Pietoso  al  par  d'un  Nume     (As  Merciful  as  God)  By 

Clotilde  Esposito,  Soprano,  and  Gino  Martinez-Patti, 
Tenor  (In  Italian) 

(Splendon  piu  belle  in  ciel  le  stelle  (In  Heavenly  Splendor) 
By  Perello  de  Segurola,  Bass,  and  Chorus  (In  Italian) 

Manon—Et  je  sais  ootre  nom     (If  I  Knew  But  Your  Name) 
By  Mile.  Kirsoff,  Soprano,  and  Leon  Beyle,  Tenor  (In  French) 


F 


62635      10-inch,        .75 


62659      lO-inch,        .75 


16551      lO-inch,        .75 


EETHOVEN 


(German) 

FIDELIO 

(FeeJeV-lce-oh) 

or,   CONJUGAL  LOVE 

GRAND    OPERA  IN  TWO  ACTS 

Words  adapted  by  Joseph  Sonnleithner  from  Bouilly's  Ltonore,  oti  I'Amour  Conjugal 
(Leonora,  or  Conjugal  Love).  Music  by  Ludwig  von  Beethoven.  First  produced  at  the 
Theatre  an  der  Wein,  Vienna,  November  20,  1805,  in  three  acts,  the  cast  including  Weinkoff, 
Meier,  Demmer,  Milder  and  Rothe.  A  revised  version  was  given  in  1806  and  a  third 
production  in  1814.  Produced  in  London,  at  the  King's  Theatre,  May  18,  1832.  In  English 
at  Covent  Garden,  June  12,  1835.  In  Italian  at  Her  Majesty's,  May  20,  1851.  In  Paris  at 
the  Theatre  Lyrique,  translated  by  Barbier  and  Carre,  and  in  three  acts,  May  5,  1860. 
First  American  performance  in  New  York,  September  9,  1839,  with  Giubilei,  Manvers  and 
Poole.  Other  notable  productions  were  in  1857,  with  Johannsen,  Weinlich  and  Oehrlein  ;  in 
1858,  with  Mme.  Caradori  and  Karl  Formes;  in  1868,  with  Mme.  Rotter,  Habelmann  and 
Formes;  the  Damrosch  production  of  1884,  with  Mme.  Brandt,  Mile.  Belz  and  Herr  Koegel ; 
and  in  1 90 1 ,  with  Ternina  as  Leonore. 


Characters 

DON  FERNANDO,  Minister  .' Baritone 

DON  PIZARRO,  Governor  o£  the  State  Prison     Baritone 

FLORESTAN,  a  prisoner .  .  .  . f. Tenor 

LEONORE,  his  wife,  known  as  Fidelio Soprano 

ROCCO,  jailor Bass 

MARZELUNE,  his  daughter  ~ Soprano 

JAQUINO,  gatekeeper Tenor 

CAPTAIN  OF  THE  GUARD Bass 

LIEUTENANT Bass 

Soldiers,  Prisoners,  People,  etc. 


Place :     A  Spanish  Slate  prison  in  the  vicinity  of  Seville, 
131 


VICTOR    BOOK    OF    THE    OPERA  — BEETHOVEN'S     FIDELIO 


N    OPERA    HOUSE 


Fidelia  must  ever  be  regarded  with  great  interest  as  being  the  only  opera  written  by  one 
of  the  greatest  composers.  Originally  given  as  Fidelia,  it  was  rewritten  and  condensed  into 
two  acts  by  Breuning,  still  a  third  revision  being  made  in  1814  by  Treitschke.  At  the  time 
of  the  second  production  in  1806  the  title  was  changed  to  Leonore,  Beethoven  writing  a  new 
overture,  now  known  as  Leonore  No.  3.  A  portion  of  this  splendid  number  has  been  played 
here  by  Pryor's  Band,  while  the  complete  overture  is  given  in  three  parts  by  the  Victor 
Concert  Orchestra. 

Leonore  Overture  No.  3 

By  Victor  Concert  Orchestra 

(Parts  I  and  II)       35268    12-inch,    $1.25 


IBy  Victor  Concert 
Orchestra     (Part  III) 
Adagio  from  Fourth  Symphony 
(Beethoven)    Vessella's  Italian  B 


35269     12-inch,      1.25 


The  action  of  the  opera  occurs  in  a  fortress  near  Seville. 
Don  Florestan,  a  Spanish  nobleman,  has  been  imprisoned  here  for 
life,  and  to  make  his  fate  certain  his  mortal  enemy,  Don  Pizarro, 
Governor  of  the  prison,  has  announced  his  death,  meanwhile 
putting  the  unfortunate  man  in  the  lowest  dungeon,  where  he  is 
BEETHOVEN  (1770-1827)  expected  to  die  by  gradual  starvation,  thus  rendering  unnecessary 

a  resort  to  violent  means. 

One  of  the  best  numbers  in  the  opera  is  this  fine  air    in    D  minor,  which   has  been 
sung  for  the  Victor  by  Mr.  Goritz. 

Ha,  welch  ein  Augenblick  (Fateful  Moment) 

By  Otto  Goritz,  Baritone  (In  German)     64165      10-inch,     $1.OO 


In  this  the  wicked  Governor  unfolds  his  hatred  and  his  malignant  intentions  toward 
Florestan. 


VICTOR    BOOK    OF    THE    OPERA  — BEETHOVEN'S    FIDELIO 


GOVERNOR: 

Fateful  moment!     My  revenge  is  near! 

Long  I've  waited  for  this  hour, 

Fearful   lest   he   should  escape  me! 

Over  my  enemy  1  triumph; 

He  who  would  my  life  have  taken ! 

Oh,   fateful  moment! 

Ah,  what  a  day  is  this! 

My  vengeance  shall  be  sated, 

And   thou,   thy   doom   is  fated. 

Once  in  the  dust  I  trembled 

Beneath   thy   conquering  steel, 

But   fortune's   wheel   is  turning 

In  torments  thou  art  burning 

The  victim  of  my  hate! 

An  extremely  pleasant  and  agreeable  person  this 
Spanish  Governor  must  have  been  !  Goritz,  whose  Pizarro 
is  one  of  his  greatest  impersonations,  sings  this  striking 
air  in  a  highly  effective  manner,  fairly  exuding  the  spirit 
of  revenge. 

Don  Florestan,  however,  has  a  devoted  wife  who  re- 
fuses to  believe  the  report  of  his  death.  Disguising 
herself  as  a  servant,  and  assuming  the  name  of  Fidelia, 
she  secures  employment  with  Rocco,  the  head  jailor. 
Rocco's  daughter  falls  in  love  with  the  supposed  hand- 
some youth,  and  he  is  soon  in  such  high  favor  that  he  is 
permitted  to  accompany  Rocco  on  his  visits  to  the  prisoner. 

Hearing  that  the  Minister  of  the  Interior  is  coming  to  the  prison  to  investigate  the  sup- 
posed death  of  Florestan,  the  Governor  decides  to  murder  him,  and  asks  Rocco 's  help.  Fidelia 
overhears  the  conversation  and  gets  Rocco  to  allow  her  to  dig  the  grave.  Just  as  Don  Pizarro 
is  about  to  strike  the  fatal  blow,  Fidelia  rushes  forward,  proclaims  herself  the  wife  of  the 
prisoner  and  shields  him.  The  Governor  is  astonished  for  a  moment,  but  recovers  himself 
and  is  about  to  sacrifice  both,  when  a  flourish  of  trumpets  announces  the  coming  of  the 
Minister,  and  Don  Pizarro  is  soon  disgraced,  while  Florestan  is  pardoned  and  given  back  to 
his  faithful  •wife. 


THE    PHANTOM    SHTP 


(German) 

DER  FLIEGENDE  HOLLANDER 

(Dehr  Flee'-gen-Jeh  Hot  -lan-der) 
(English) 

FLYING  DUTCHMAN 


1"  Sorflfflutifl  ini  »ifrtfn 
dnifllid)  @d*fif(t>f§ 


afl,  Kn  2.  3nnuor  1843. 

flicpik  l^Ittnfor. 

' 


9Jomamif(t)t  CpttTn  bm  Sfrim,  - 


5  Ubt.          Slnraug  urn  6  Ubr, 
i&iSc  gtgm  -J  Ubt. 


(Italian) 

II  Vascello  Fantasma 

(£e/  Vaa-sel-low  Fahn-tahz' -mah) 

A  ROMANTIC  OPERA  IN  THREE  ACTS 

Text  and  score  by  Richard  Wagner.  First 
produced  at  the  Royal  Opera  in  Dresden,  January 
2,  1843,  with  a  Paris  production  the  following 
year  under  the  title  of  Le  Vaisseau  Fantome.  First 
London  production  July  23,  1870;  and  in  English 
by  Carl  Rosa  in  1876;  first  New  York  production, 
in  English,  January  26,  1877;  in  German,  March 
12,  1877. 


Cast 

,  a  Norwegian  sea  captain Bass 

SENTA,  his  daughter Soprano 

ERIC,  a  huntsman Tenor 

MARY,  Senta's  nurse Contralto 

DALAND'S  STEERSMAN Tenor 

THE  DUTCHMAN Baritone 

Sailors,  Maidens,  Hunters,  etc. 


ORIGINAL     PROGRAM— DRESDEN,     1843 


Place  :      On  the  coast  of  Norway 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


THE  STORY 

One  of  the  most  melodious  of  Wagner's  operas,  and  the  most  popular  in  Germany 
to-day,  Fliegende  Hollander  is  also  the  one  which  was  most  promptly  condemned  by  the 
critics  after  its  production.  Its  present  vogue  is  a  notable  example  of  the  change  in  musical 
taste  since  1843. 

Wagner  was  led  to  write  the  Flying  Dutchman  after  reading  Heine's  legend  of  the 
unhappy  mariner,  who,  after  trying  long  in  vain  to  pass  the  Cape  of  Good  Hope,  had 
sworn  that  he  would  not  desist  if  he  had  to  sail  on  the  ocean  to  eternity.  To  punish  his 
blasphemy  he  is  condemned  to  the  fate  of  the  Wandering  Jew,  his  only  hope  of  salvation 
lying  in  his  release  through  the  devotion  unto  death  of  a  woman;  and  to  find  such  a 
maiden  he  is  allowed  every  seven  years  to  go  on  shore. 

Flying  Dutchman  Overture 

By  Pryor's  Band  31787     12-inch,  $1.00 

The  overture  is  a  complete  miniature  drama,  em- 
bodying the  events  of  the  opera  to  follow.  Driven  by 
the  gale,  the  Phantom  Ship  approaches  the  shore,  while 
amid  the  fury  of  the  tempest  is  heard  the  theme  of  The 
Curse : 


The  storm  increases  and  reaches  its  height  in  a  •won- 
derful piece  of  writing.  No  composer  ever  succeeded 
in  portraying  a  raging  storm  with  such  vivid  effect. 
Amid  a  lull  in  the  tempest,  we  hear  the  melancholy 
complaint  of  the  Dutchman  from  the  great  air  in  the  first 
act,  ' '  Wie  oft  .  .  .  Mein  Grab,  es  schloss  sich  nicht  ?  ' ' 
(Mygr 
strain 


HANDWRITING 

-I  find  it  not  I)     A  gleam  of  hope  appears  in  the  Redemption  theme,  and  a  joyous 
heard  from  the  sailors  of  Daland's  ship,  which  is  safe  in  the  harbor. 

Thus  the  various  events  of  the  drama  are  presented  in  miniature;  and  the  overture  is 
in  fact  a  complete  resume'  of  the  opera,  summarizing  the  leading  motifs.  It  is  superbly 
played  by  Mr.  Pryor's  fine  organization. 

A.CT  I 

SCENE—  The  Coast  of  Norway 
The  curtain  rises  showing  a  rocky  sea  coas1 
in  Norway,  with  the  ship  of  Daland  anchored 
near  the  shore.  As  the  crew  furl  the  sails, 
Daland  goes  ashore,  and  climbing  the  cliff,  sees 
that  he  is  only  seven  miles  from  home,  but  as 
he  must  wait  for  a  change  in  the  wind,  bids 
the  crew  go  below  and  rest. 

The  Steersman  remains  on  watch,  and  to 
keep  awake  sings  a  sailor  ballad : 
STEERSMAN: 

Through  thunder  and  wars  of  distant  seas, 

My  maiden,  come   I  near! 
Over   towering  waves,   with   southern   breeze, 

My  maiden  am  I  here! 
My  maiden,  were  there  no  south  wind, 

I  never  could  come  to  thee; 
O   fair  south  wind,  to  me  be  kind! 
My  maiden,  she  longs  for  me! 
Ho-yo-ho!      Hallo-ho! 
From  the  shores  of  the  south,  in  far-off  lands, 

I   oft  on   thee   have  thought; 
Through    thunder    and     waves     from     Moorish 
strands. 

A  gift  I  thee  have  brought. 
My  maiden,  praise  the  sweet  south  wind — 
"    bring    thee    a    golden    ring. 

kind! 


RENAUD   AS    THE    DUTCHMAN 


O  fair  south  wind,  to  me  be 

Hallo-ho! 


My  maiden  doth  spin  and  sins 
Ho-yo-ho!      


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 

He  soon  falls  asleep,  however,  and  fails  to  see  the  Flying  Dutchman,  which  now  appears, 
with  blood-red  sails  and  black  masts,  for  one  of  her  periodical  visits. 


Wie  oft  in  Meeres  tiefsten  Schlund   (In  Ocean's  Deepest  Wave) 

By  Otto  Goritz,  Baritone  (In  German)     7423O     12-inch,  $1.5O 

The  spectral  crew  furl  the  blood-red  sails  and  drop  the  rusty  anchor.  The  Dutchman 
stands  on  the  deck,  and  delivers  his  great  soliloquy.  He  gloomily  gazes  at  the  land,  and 
sings  his  preliminary  recitative : 

The  term  is  past,  and  once  again  are  ended  the  seven  long  years; 

The  weary  sea  casts  me  upon  the  land. 

Ha!  haughty  ocean! 

A  little  while  and  thou  again  wilt  bear  me! 

Though  thou  art  changeful,  unchanging  is  my  doom! 

Release,   which  on  the  land  I   seek  for, 

Never  shall  I  meet  with! 

True,   thou  heaving  ocean,   am  I   to  thee 

Until  thy  latest  billow  shall  break, 

Until  at  last  thou  art  no  more! 

An  introduction  in  6-8  allegro  molto  leads  to  the  aria: 
DUTCHMAN: 

Engulf'd  in  ocean's  deepest  wave, 

Oft  have   I   long'd  to  find  a  grave; 

But  ah!  a  grave,  I  found  it  not! 

I  oft  have  blindly  rushed  along, 

To  find  my  death  sharp  rocks  among; 

But  ah!  my  death,  I  found  it  not. 

And  oft,  the  pirate  boldly  daring, 

My  death  I've  courted  from  the  sword, 

Here,  cried  I,  work  thy  deeds  unsparing, 

My  ship  with  gold  is  richly  stor'd! 


Alas,  the  sea's  rapacious  son, 

But  sign'd  the  cross,   and  straight  was  gone 

Mine  is  a  curse  of  living  breath. 

Thee  do  I  pray 

Bright  angel  sent  from  Heaven. 

Was  there  a  fruitless  hope  to  mock  me  given, 

DalanJ  comes  on  deck 
and  is  astonished  to  see  the 
strange  ship.  He  wakes  the 
Steersman  and  they  hail  the 
stranger,  who  asks  DalanJ  to 
give  him  shelter  in  his  home, 
offering  him  treasure  from  his 
ship.  On  hearing  that  DalanJ 
has  a  daughter  he  proposes 
marriage.  The  simple  Nor- 
wegian is  dazzled  by  such  an 
honor  from  a  man  apparently 
so  wealthy,  and  freely  con- 
sents, providing  his  daughter 
is  pleased  with  the  stranger. 

The  wind  changes  and 
DalanJ  sails  for  his  home,  the 
Dutchman  promising  to  follow 
at  once. 

ACT  II 

SCENE— A  Room  in  DalanJ's 
Home 

Traft  ihr  das  Schiff    (Senta's  Ballad) 

By  Johanna  Gadski.  Soprano 


When  thou  didst  tell  me  how  to  gain  release? 

A  single  hope  with  me  remaineth, 

A  single  hope  still   standeth  fast; 

When  all   the  dead  are   raised  again, 

Destruction  then  I   shall  attain. 

Ye  worlds,  your  curse  continue  not! 

Endless  destruction  be  my  lot! 


FIRST    ACT    SETTING    USE 


(In  German)     88116      12-inch.  $3.OO 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


The  maidens  are  busily  spinning — all  but  Senta,  Z)a/am/'s  daughter,  who  is  idly  dreaming, 
•with  her  eyes  fixed  on  the  fanciful  portrait  of  the  Flying  Dutchman  which  hangs  on  the  wall. 

The  legend  of  the  unhappy  Hollander  has  made  a  strong  impression  on  the  young  girl, 
and  he  seems  almost  a  reality  to  her.  The  maidens  ridicule  her,  saying  that  her  lover, 
Eric,  will  be  jealous  of  the  Dutchman.  Senta  rouses  herself  and  commences  the  ballad, 
which  begins  with  the  motive  of  The  Curse.  With  growing  enthusiasm  she  goes  on, 
describing  the  unhappy  lot  of  the  man  «„ 
condemned  to  sail  forever  on  the  sea  un- 
less  redeemed  by  the  love  of  a  woman. 
1  hen  with  emotion  she  cries : 

This  is  the  theme  of  Redemption  by  Woman 's  Love,  and 
as  Senta  sings  the  beautifully  tender  and  melodious  phra.se, 
she  runs  toward  the  portrait  with  outstretched  arms,  hardly 
conscious  of  the  now  alarmed  maidens. 


SENTA: 

Yo-ho-hoe! 


Yo-ho-hoe!      Yo-ho-hoe!      Yo-ho-hoe! 


Saw  ye  the   ship   on   the  raging  deep 

Blood-red  the  canvas,   black  the  masti 

On  board  unceasing  watch  doth  keep 

The  vessel's  master  pale  and  ghast! 

Hui!      How   roars  the   wind!      Yo-holhoe!      Yo-ho-hoe! 

Hui!     How  bends  the  mast!     Yo-ho-hoe!     Yo-ho-hoe! 

Hui!     Like  an  arrow  she  flies 

Without  aim,  without  goal,   without  rest! 

(She  gazes  at  the  portrait  with  growing  excitement) 

Yet  can  the  spectre  seaman 

Be  freed  from  the  curse  infernal, 

Who'll   pledge   him   her  love  eternal. 
Ah!  that  the  unhappy  man  may  find  her 
Pray,  that  Heaven  may  soon 
In  pity  grant  him  this  boon! 

Mme.  Gadski,  whose  Senta  is  always  a  fine  impersona- 
tion, sings  this  dramatic  number  most  expressively.  The 
difficult  attack  on  the  high  G,  which  occurs  several  times, 
is  beautifully  taken  and  perfectly  recorded.  GADSKI  AS  SENTA 

The  maidens  are  so  alarmed  at  Senta' s  outburst  of  passion  that  they  run  out  and  call 
Eric,  who  meets  them  at  the  door  with  news  of  the  Dutchman 's  arrival.      They  run  to  the 
shore  while  Eric  remains  and  reproaches  Senta.      She  refuses  to  listen  and  the  distracted 
lover  runs  out. 

Suddenly  the  door  opens  and  the  Dutchman  appears. 
Senta  is  transfixed  with  surprise  as  she  involuntarily  com- 
pares the  portrait  with  the  living  man.  A  long  silence  fol- 
lows. The  Dutchman,  his  eyes  fixed  on  the  glowing  face 
of  the  maiden,  advances  toward  her.  Daland  soon  observes 
that  the  others  pay  no  attention  to  him,  and  well  satisfied 
with  the  apparent  understanding  between  the  stranger  and 
his  daughter,  leaves  them  together. 

The  Hollander  sees  in  Senta  the  angel  of  whom  he  had 
dreamed  and  who  is  to  banish  the  curse,  and  she  sees  the 
original  of  the  portrait  on  which  the  sympathy  of  her 
girlish  and  romantic  heart  had  been  lavished.  The  Hol- 
lander asks  Senta  if  she  agrees  with  her  father's  choice  of  a 
husband.  She  gladly  consents,  and  a  long  love  duet  follows, 
the  final  theme  of  which  is  "  faith  above  all." 

\^ie  aus  der  Feme  (Like  a  Vision) 

By  Otto  Goritz,  Baritone     (In  German) 

74322     12-inch,  $1.50 

Versank  ich  jetzt  (Do  I  Dream  ?) 

By  Johanna  Gadski,  Soprano,  and  Otto  Goritz, 
DESTINN  AS  SENTA  Baritone     (In  German)      883 7O      12-inch,  $3.OO 

Wohl  konn'  ich  Weibes  (Woman's  Holy  Duties) 

By  Johanna  Gadski,  Soprano,  Otto  Goritz,  Baritone  (German)  88371  12-inch,  $3.OO 


VICTOR     BOOK     OF     THE     OPERA  — FLYING     DUTCHMAN 


At  the  close  of  the  duet,  The  Dutchman 
and  Senta  rejoice  at  his  deliverance  from  the 
spell: 

THE  FLYING  DUTCHMAN: 

A  healing  balm  for  all  my  sorrows 
From  out  her  plighted  word  doth  flow. 

SENTA: 

'Twas  surely  wrought  by  pow'r  of  magic 
That  I  should  his  deliv'rer  be. 

THE  FLYING  DUTCHMAN: 

Hear  this!    Release  at  last  is  granted! 

Hear  this,  ye  mighty: 

Your  power  is  now  laid  low! 

SENTA: 

Here  may  a  home  at  last  be  granted, 

Here  may  he  rest,  from  danger  free! 

What  is  the  power  within  me  working? 

What  is  the  task  it  bids  me  do? 

Almighty,  now  that  high  Thou  hast   raised  me, 

Grant  me  Thy  strength,  that  I  be  true! 

Daland  re-enters  and  is  delighted  to  find 
such  a  complete  understanding  between  the 
two.  He  invites  the  Dutchman  to  the  fete  that 
evening  in  celebration  of  the  safe  arrival  of  the 
Norwegian  ship.  Senta  repeats  her  vow  unto 
death,  and  a  magnificent  trio  closes  the  act. 

ACT  III 

SCENE— Daland's  Harbor 

SCHUMANN-HEINK  AS  MARY  This  scene  shows   the    ships  anchored  in 

the  bay  near  Daland's  home.     Daland's  vessel 

is  gay  with  lanterns,  in  contrast  to  the  gloom  and  silence  which  marks  the  Dutchman 's  ship. 
A  gay  Norwegian  chorus  is  followed  by  a  spirited  hornpipe  with  a  most  peculiar  rhythm. 
Bits  of  these  numbers  are  to  be  heard  in  the  Pryor's  Band  records  of  the  Overture  and  Fantasia. 

The  maidens  now  appear  with  baskets  of  eatables,  and  are  joyfully  received  by  the 
sailors.  Having  supplied  the  wants  of  their  own  countrymen,  they  approach  the  Dutchman's 
ship  and  call  to  the  sailors,  but  only  a  ghostly  silence  rewards  them.  Piqued  at  this  neglect, 
they  turn  their  remaining  baskets  over  to  the  Norwegian  sailors  and  return  home. 

Suddenly  the  sea  around  the  Dutchman  begins  to  rise,  and  a  weird  glow  lights  the  ship. 
The  crew  appear  and  begin  a  sepulchral  chant,  which  causes  the  gay  Norwegians  to  cease 
singing  and  cross  themselves  in  terror,  and  finally  to  go  below.  With  mocking  laughter,  the 
crew  of  the  Dutchman  also  disappear  and  the  ship  is  in  darkness. 

Senta  and  Eric  appear  and  a  stormy  scene  ensues.  He  has  heard  of  her  engagement  to 
the  strange  captain,  and  is  be- 
side himself.  He  kneels  and 
begs  her  to  have  pity  on  him. 
Suddenly  the  Hollander  comes 
upon  the  scene  and  is  horror- 
stricken  at  the  tableau.  Be- 
lievingSen/atobe  false.he cries, 
"All  is  lost;  Senla,  farewell!" 

The  crews  of  both  ships 
appear  and  the  townsmen  rush 
to  the  scene.  The  Dutchman 
reveals  his  identity  and  de- 
clares himself  cursed  forever. 
He  springs  upon  his  ship — 
the  crimson  sails  expand  as  if 
by  magic  and  the  ship  de- 
parts, with  the  crew  chanting 
their  weird  refrain. 

Senta,  in  wild  exaltation, 
rushes  to  the  highest  rock, 
calling  to  the  departing  vessel,  "OM  »"  Ol°  "'•'  SENTA  is  FAITHFUL  UNTO  DEATH 

139 


VICTOR    BOOK    OF    THE     OPERA— FLYING     DUTCHMAN 

"  I  am  faithful  unto  death,"  and  throws  herself  into  the  sea.  The  Flying  Dutchman  sinks  be- 
neath the  water,  and  rising  from  the  wreck  can  be  seen  the  forms  of  Senta  and  the  Dutchman 
clasped  in  each  other's  arms.  The  curse  has  been  banished — true  love  has  triumphed ! 

This  brilliant  selection  contains  some  of  the  finest  music  of  this  wonderful  masterpiece, 
in  •which  Wagner  has  portrayed  the  story  of  the  Dutchman  condemned  to  sail  forever  on  the 
stormy  sea  unless  redeemed  by  the  love  of  a  woman. 

Two  variations  of  the  exquisite  theme  representing  Redemption  by  Woman 's  Love  are 
given.  We  first  hear  the  magnificent  strain  played  by  the  orchestra  in  Act  III  •when  Senta 
plunges  into  the  sea,  after  the  Dutchman,  believing  her  false,  has  sailed  away;  then  follows 
the  theme  first  heard  in  Senta's  ballad,  one  of  the  finest  numbers  in  the  opera.  Then  appears 
the  second  of  the  two  principal  themes :  the  Flying  Dutchman  motive : 
•V 


a  weird  melody  representing  the  restless  wanderer.  In  strong  contrast  comes  the  rollick- 
ing chorus  of  Daland's  sailors,  "Steersman,  Leave  the  Watch,"  and  the  fantastic  dance 
•which  follows : 


The  Fantasia  is  brought  to  an  effective  close  with  a  portion  of  the  great  duet  between 
Senta  and  the  Dutchman,  leading  up  to  a  splendid  climax. 

MISCELLANEOUS   FLYING    DUTCHMAN   RECORDS 

/Flying  Dutchman  Fantasia  By  Pryor's  Band  1 , ,  . ,,  0      ...     ,      4.  „- 

\     Pagliacci— Prologue  By  Pryor's  BanJf35156     12-lflch«   $1-25 


(FROl 


PRINT) 


LA  FORZA  DEL  DESTINO 

(La  Forf-zah  delDa-tetf-noK) 

THE  FORCE°*OF  DESTINY 

OPERA  IN   FOUR  ACTS 

Book  by  Piave ;  music  by  Giuseppe  Verdi.  First  produced  at  St.  Petersburg,  Novem- 
ber 11,  1862;  and  in  London  at  Her  Majesty's  Theatre,  June  22,  1867.  First  New  York 
production  February  2,  1865,  with  Carozzi-Zucchi,  Massimilliani  and  Bellini. 


CHARACTERS 

MARQUIS  OF  CALATRAVA,  (KaUh-trah'-oah) 
DONNA  LEONORA.I  ,  . 

DON  CARLO.  }  KlS 

DON  ALVARO.  (Ahl-oah'-roh) 

ABBOT  OF  THE  FRANCISCAN  FRIARS 

MEUTONE.  a  friar 

CURRA,  Leonora's  maid  ............................  .................. 

TRABUCO,  muleteer,  afterwards  a  peddler  .........................  Tenor 

A  SPANISH  MILITARY  SURGEON  ...............................  Tenor 

AN  ALCADE  .................................................  Bass 

Muleteers,  Spanish  and  Italian  Peasants  and  Soldiers, 
Friars  of  the  Order  of  St.  Francis,  etc. 


Bass 

/Soprano 

\Baritone 
Tenor 

Bass 

Baritone 


Scene  and  Period :    Spain  and  Italy  ;    about  the  middle  of  the  eighteenth  century. 


Verdi's  opera  of  La  Forza  del  Destino  -was  never  a  great  success ;  its  story,  which  is 
taken  from  a  drama  of  the  Duke  of  Rivas,  entitled  Don  Alvaro  o  la  Fuerzer  del  Sino,  being 
doleful  and  so  crowded  with  horrors  that  not  even  the  beautiful  music  could  atone  for  the 
gloomy  plot.  Old  opera- goers  well  remember  the  last  production  of  the  opera  at  the 
Academy  in  1881,  with  Annie  Louise  Cary,  Campanini,  Galassi  and  Del  Puente  in  the  cast. 

The  only  production  in  America  subsequent  to  that  time  was  that  of  the  Lombard! 
Opera  Company  in  San  Francisco  several  years  ago. 

The  overture  is  a  most  interesting  and  rather  elaborate  one. 

Overture      (Double-faced— See  page  145) 

By  Arthur  Pryor's  Band     35215  12-inch,  $1.25 

/Overture,  Parti  La  Scala  Orchestra),  enno  10   •     <        ,  ,,- 

(Overture,  Part  II  La  Scala  Orchestra/680'     '  12-inch«     l-2* 

It  opens  with  a  trumpet  blast  which  sufficiently  foreshadows  the  tragic  character  of  the 
opera,  this  being  followed  by  an  air  in  the  minor,  leading  up  to  a  striking  theme  which  steals 
in  softly  from  the  string 


This  is  the  beautiful  subject  of  the  Madre  Pielosa,  afterwards  heard  with  such  mag- 
nificent  effect  in  the  opera. 

Part  II  opens  with  a  light  and  pretty  pastoral  melody  quite  in  the  Italian  vein.  A 
notably  brilliant  passage  for  strings  brings  us  again  to  the  Madre  Pielosa  melody,  this  time 
delivered  in  a  triumphant  fortissimo,  after  which  the  overture  •works  up  to  a  truly  animated 
and  powerful  finale. 


VICTOR    BOOK    OF    THE     OPERA— LA    FORZA    DEL    DESTINO 

ACT  I 

SCENE — Drawing  Room  in  the  House  of  the  Marquis  of  Calatrava 
Don  Alvaro,   a    noble  youth   from   India,  becomes  enamored  with  Donna  Leonora,    the 

daughter  of   the   Marquis  of  Calatrava,  •who   is   strongly   opposed    to   the   alliance.     Leonora, 

knowing  her  father's  aversion,  determines  to  make   her  escape  with  Alvaro,  aided  by  Curra, 

her  confidant. 

She  is  in  the  act   of  eloping  when   her  father  appears,  and   is  accidentally  slain  by  her 

lover.     Leonora,  horror-stricken,  rushes  to  her  father,  who  curses   her  with   his  dying  breath. 

ACT  II 

SCENE  I — An  Inn  at  Hornacuelos 

The  second  act  begins  in  a  village  inn,  where  Don  Carlo,  son  of  the  murdered  Marquis, 
is  disguised  as  a  student  in  order  to  better  avenge  his  father.  Leonora,  who  is  traveling  in 
male  attire,  arrives  at  the  inn,  and  is  horror-stricken  at  seeing  her  brother,  who  has  sworn 
to  kill  her  lover  Alvaro  and  herself.  She  flees  to  the  convent  of  Hornacuelos,  arriving  at 

nlght'  SCENE  II—  The  Convent  of  Homacuelos 

Kneeling  in  the  moonlight,  she  prays  to  the  Virgin  to  protect  her.  This  beautiful 
prayer  is  splendidly  sung  here  by  Mme.  Boninsegna,  accompanied  by  the  chorus  of  La  Scala. 

Madre,  pietosa  Vergine  (Holy  Mother,  Have  Mercy) 

By  Celestina  Boninsegna,  Soprano,  and  La  Scala  Chorus 

(In  Italian)     92031      12-inch,  $3.OO 

The  effect  produced  by  the  solo  voice  with  the  background  of  male  voices  singing  the 
Venite  in  the  chapel   is  powerful  and  thrilling,   and  forms  one  of  the  finest  of  the  Victor 
reproductions  of  Verdi's  scenes. 
LEONORA:  LEONORA: 

Oh,  Holy  Virgin,  O   sublime   song, 

Have  mercy  on  my  sins!  Which  like  incense, 

Send  help  from  Heaven  Ascends   heavenward. 

To  erase  from  my  heart  It  gives  faith,  comfort, 

That  ungrateful  one.  And  quiet  to  my  soul. 

(The  friars  are  heard  in  their  morning  hymn.)         I  will  go  to  the  holy  sanctuary. 
THE  FRIARS:  The  pious  father  cannot   refuse  to  receive  me. 

Venite,  adoremus  et  procelamus  O   Lord!   Have  mercy  on  me, 

An   te   Deum,   ploremus,   ploremus  Nor   abandon   me. 

Coram   Domino,   coram   Domino    qui  fecit   nos.         (She  rings  the  bell  of  the  convent.) 
Leonora  is  admitted  to  the  convent  by  the  Abbot,  to  whom  she  confesses.     He  procures 
her  a  nun's  robe  and   directs  her  to  a  cave,  assuring  her  that  a  curse  will  rest  upon  anyone 
•who  seeks  to  know  her  name  or  to  enter  her  abode.     In  her  gratitude   she  sings  the  second 
great  air. 

La  Vergine  degli  angeli  (May  Angels  Guard  Thee) 

By  Celestina  Boninsegna,  Soprano,  and  La  Scala  Chorus 

(In  Italian)     91O75      lO-inch,  $2.OO 

Again  we  have  the  effect  of  the  solemn  chant  of  the  priests  blending  with  the  prayer  of 
Leonora. 

THE  FRIARS:  LEONORA: 

La   Vergine  degli  Angeli  Let   the   Holy   Virgin 

Vi    copra    del   suo    manto,  Cover  you   with   her  mantle, 

E  voi  protegga  vigile  And   the   angels   of   God 

Di  Dio  I' Angela  santo.  Watch   over  you! 

(Leonora  kisses  the  hand  of  the  Abbot  and 
goes  to  her  retreat.  The  monks  return  to 
the  church.) 

ACT  III 

SCENE— A  Military  Camp  near  Velleiri 

In  Act  III  we  are  transported  to  Italy,  where  we  meet  Alvaro,  who  has  enlisted  in  the 
Spanish  army.  In  a  sad  but  beautiful  air  he  recounts  his  misfortunes,  and  appeals  to  heaven 
for  pity, 

O  tu  che  in  seno  agli  Angeli  (Thou  Heavenly  One) 

By  Enrico  Caruso,  Tenor  (In  Italian)     882O7     12-inch,  $3.OO 


VICTOR    BOOK     OF    THE     OPERA— LA     FORZA    DEL     DESTINO 


ALVARO:  prison.     .     .     .     The  desert  educated  me;   un- 

Life    is    a    misery      ...      In    vain    I    seek        known    is    my    royal    descent!       My    ancestors 
death.      .      .      .      Seville!      .      .      .      Leonora!        aspired   to    a    throne.      Alas!      They    were   be- 


hast    taken    f 


Oh,   memories!      Oh,   night!      Thou 


all 


y     happiness!       I 


shall  ever  be  unhappy.     .     .     .      So  it  is  writ- 

My    father    tried    to    make    his         get  to 


headed!     Oh,  when  will  my  misfortune  cease? 
Thou   who   hast   ascended   in   heaven,    all   beau- 
tiful  and   pure    from    mortal    sins,    do   not    for- 
look on  me,  a  poor  sufferer,   who  with- 


country free,   and  to   wear  a  crown  by  marry-         out     hope     fights     eagerly     for     death     against 
ing    the     only     daughter    of    Ineas.       He     was         destiny!      Leonora,    help    me    and    have    mercy 


foiled   in   his  design. 


I  was  born   in        on  my  sufferings! 


In  the  next  scene  he  saves  the  life  of  Don  Carlo,  whose  wanderings  in  search  of  ven- 
geance have  led  him  to  this  region.  Both  having  assumed  fictitious  names,  they  do  not  know 
each  other,  and  swear  eternal  friendship.  Shortly  afterward,  during  an  engagement,  Don 
Alvaro,  wounded,  is  brought  in  on  a  stretcher  by  his  soldiers.  Thinking  himself  dying,  he 
sends  away  the  soldiers  and  requests  that  he  be  left  alone  with  Don  Carlo.  The  great  duet, 
the  finest  number  in  the  opera,  then  occurs. 


Solenne  in  quest'ora  (Swear  in  This  Hour) 

By  Enrico  Caruso,  Tenor,  and  Antonio  Scotti,  Baritone 

(In  Italian)  89001  12-inch,  $4-00 
By  Lambert  Murphy  and  Reinald  Werrenrath 

(In  Italian)  70103  12-inch.  1.25 

By  Carlo  Barrera  and  Giuseppe  Maggi  (In  Italian)  *68213  12-inch,  1.25 

By  Luigi  Colazza  and  Ernesto  Caronna  (In  Italian)  *63174  10-inch,  .75 

The  wounded  man  confides  a  case  of  letters  to  his  friend  Don  Carlo  to  be  destroyed, 
making  him  swear  that  he  will  not  look  at  the  contents.  Carlo  swears,  and  the  friends  bid 
each  other  a  last  farewell. 


ALVARO  : 

My  friend     . 
my   last   wish. 


with   me 
the  letters. 


swear  that  you   will  grant 

my   last   wish.  the  letter 

CARLO:    I    swear!      ALVARO:    Look   at   my    breast.     CARLO: 
CARLO:  A  key!  So  be  it. 

ALVARO   (feebly) 
sealed         Now   I   die   happ 


when   I   am    dead   destroy 


. 
ALVARO:  ALVARO   (feebly): 

Open    this    case    and    you    will    find    a    sealed         Now   I   die   happy     .... 
parcel.      ...       I    trust    it    to    your    honor,          you     ....     farewell  ! 


let  me  embrace 

...  rust    it    to    your    honor,          you     ....     farewell  ! 

It  contains  a  mystery  which  must  die     CARLO:  Put  thy  trust  in  heaven!      BOTH:   Adieu! 


The  Caruso  and  Scotti  rendition  of  this  number  is  considered  by  many  to  be  one  of  the 
most  perfect  and  beautiful  of  all  the  Red  Seal  Records.  It  is  certainly  the  most  wonder- 
fully lifelike  reproduction  of  these  two  great  voices  which  could  be  imagined.  The  Purple 
Label  Record  by  Mr.  Murphy  and  Mr.  Werrenrath  is  an  excellent  one,  exhibiting  the  fine 
voices  of  these  two  young  singers  to  great  advantage. 

Just  at  this  point  it  may  be  well  to  settle  a  controversy  which  has  been  raging  ever  since 
the  issue  of  this  record  in  1906.  This  argument  concerns  the  identity  of  the  voices  in  the 
opening  measures,  and  is  the  natural  result  of  a  remarkable  similarity  between  Caruso's 
lower  register  and  the  medium  tones  of  Scotti's  voice.  The  Victor  Catalogue  Editor  now 
appoints  himself  a  court  of  final  appeal,  and  declares  that  contrary  to  the  usual  impression 
it  is  Caruso,  not  Scotti,  who  begins  the  record.  Here  are  the  opening  measures  just  as  sung 
by  the  artists  : 


DON  ALVAKO  (CABU90). 


DON  ALVABO  (CABCRO). 


pa  •  go  un  mio  volo 
do    not  rt  -fust  me. 


Sul   co  -  re    cer  •  c»   •   te 

Up  •  on  my  heart  you'll  find 


Double-Faced  Record— For  title  of  opposite  side  see  the  double-faced  list  on  page  145. 


VICTOR    BOOK    OF    THE     OPERA— LA    FORZA    DEL     DESTINO 

Alvaro,  however,  does  not  die,  and  in  the  next  scene  his  identity  becomes  known  to 
Don  Carlo,  who  challenges  him.  They  fight,  and  Aloaro,  thinking  he  has  killed  his  enemy, 
resolves  to  end  his  days  in  a  monastery. 

ACT  IV 

SCENE— Same  as  Act  II,  Scene  II 

Five  years  have  now  elapsed  and  the  last  act  reveals  again  the  cloister  of  Hornacuelos, 
•where  Aloaro,  now  Father  Raphael,  is  discovered  by  Don  Carlo,  who  •with  a  persistence  rival- 
ing that  of  a  Kentucky  mountaineer,  revives  the  feud  and  tries  to  force  him  to  renew  the 
combat.  Aloaro  finally  consents,  and  they  agree  to  fight  in  a  deserted  spot  near  by.  This 
agreement  is  expressed  in  a  fiery  duet. 

Invano  Alvaro  !     (In  Vain,  Alvaro  !) 

By  Enrico  Caruso,  Tenor,  and  Pasquale  Amato,  Baritone 

(In  Italian)     89O52      12-inch,  $4.OO 

The  host  of  Victor  opera-lovers  who  are  familiar  with  the  wonderful  duet  from  Act  III, 
by  Caruso  and  Scotti,  •will  note  •with  delight  the  issue  of  another  famous  duet  from  this 
opera,  sung  by  Caruso  and  Amato. 

This  great  scene  has  been  recorded  in  two  parts.     Carlo  demands  that  Aloaro  renew  the 
feud,  but  the  priest  refuses,  saying  that  vengeance  is  with  God.     Don  Carlo  taunts  him  with 
a  terrible  persistence,  until  the  monk,  goaded  past  endurance,  consents  to  fight  to  the  death. 
CARLOS  :  CARLOS  : 

In  vain,  Alvaro,  Yes!   and  for  long  years 

Thou   hast  hid  from  the  world,  I   have  sought  and  now  find  thee. 

And  concealed  thy  coward  heart  By   thy   hand   I   fell, 

With  the   habit   of  a   monk!  But  God  restored  my  strength 

My  hate   and  desire   for  vengeance  That  I   may   avenge   thy   crimes! 

Have   enabled  me  to   persist  Here   are   two   swords, 

Until   I   have  discovered  your  retreat!  Thy  choice   now  make! 

In    this   lonely    spot  ALVARO  : 

We  shall   not  be   disturbed,  Leave  me!     By  this  holy  habit 

And   your   blood   shall   wipe   out  Thou  may'st   see   my   repentance! 

The  stain  upon  my  honor;  CARLOS   (in  fury): 

That  I  swear  before  God!  Coward! 

ALVARO    (recognising  him):  Thou   shalt   not  hide  behind  thy  robes! 

Don  Carlos!     Thou  livest!  ALVARO    (agitated): 

Coward!   Oh,   God 
Give  me  strength  to  forgive  thee! 

Le  minaccie,  i  fieri  accenti    (Thy  Menaces  Wild  !) 

By  Enrico  Caruso,  Tenor,  and  Pasquale  Amato,  Baritone 

(In  Italian)        89O53      12-inch,  $4.OO 
By  Titta  Ruffo,  Baritone,  and  Emanuele  Ischierdo,  Tenor 

(In  Italian)        925O4      12-inch,     4.OO 
By  Carlo  Barrera,  Tenor,  and  Giuseppe  Maggi,  Baritone 

(Double-faced— See  page  145)  (In  Italian)      68213      12-inch,     1.25 

Alcaro  recovers  his  poise  and  endeavors  to  appeal  to  the  reason  of  his  enemy,  showing 
him  the  futility  of  reopening  the  feud.  Part  II  begins  as  follows  : 

ALVARO  (firmly) :  ALVARO    (rising,  unable   to   control   himself) : 

Thy  menaces  wild  My   lineage   is  brighter   than   a   jewel — 

Be  heard  only  by  the  winds,  CARLOS    (sneeringly)  : 

I   cannot  listen!  A  jewel   flaw'd  and   discolored! 

Brother,   let  us   submit  to  fate  ALVARO    (in  fury)  : 

And  the  will  of  God!  Thou  liest! 

CARLOS-  Give  me  a  sword.     Lead  on! 

Thou' hast  left  me  CARLOS: 

A   sister  deserted  and   dishonored!  A  At  last! 

ALVARO-  ALVARO    (recovering   himself): 

No1    I    swear   it!  ^°'    Satan   shall   not   thus  triumph. 

I  adore  her  with  a  holy  love.  C^Kf**   ^^   '"*  """'^ 

CARLOS    (furiously):  Then' coward,   I   brand   thee   with   dishonor! 

Thy  cowardly  pleadings  (Strikes  him.) 

Cannot  move  me  to  pity.  ALVARO  • 

Take  thy  sword  and  fight!  Oh,  God,  no  moref 

ALVARO:  (To  Don  Carlos) 

Brother,  let  me  kneel  to  thee.  Defend   thyself! 

(He  kneels.)  BOTH: 

CARLOS:  We   both  must   die 

Ah,   by  such   an   act  Our  hatred  will  be  appeased 

Thou  showest  thy  base  origin!  And  Satan  will  claim  us  for  his  own! 


VICTOR    BOOK    OF    THE     OPERA— LA    FORZA    DEL    DESTITsJO 

ACT  V 

SCENE— A   Wild  Spot  Near  Hornacuelos 

The  scene  changes  to  the  vicinity  of  Leonora's  cave.  Pale  and  worn,  the  unhappy 
woman  comes  from  the  cave,  and  in  another  great  air  implores  Heaven  to  let  her  die,  as 
she  is  unable  to  forget  her  lover. 

Pace  mio  Dio    (Mercy,  O  My  Lord) 

By  Celestina  Boninsegna,  Soprano  (In  Italian)      92O27      12-inch,  $3.OO 

LEONORA : 

Mercy,  oh  Lord! 

My  sorrows  are  too  great  to  bear. 

This  fatal   love   has  been  my   undoing, 

But  still  do  I  love  him, 

Nor  can  I  blot  his  image  from  my  heart; 

Yet   'tis   Heaven's   decree  that   I   shall    see   him 

no  more! 

Oh  Lord,  let  me  die, 
Since  death  alone  can  give  me  peace! 

A  storm  now  breaks,  and  Leonora  retires  within  the  cave  just  as  Aloaro  and  Carlo  ap- 
pear for  the  final  combat.  Aloaro  recognizes  the  spot  as  an  accursed  one,  but  declares 
that  it  is  a  fitting  place  for  the  ending  of  so  deadly  a  feud. 

Don  Carlo  falls  mortally  wounded,  and  desiring  to  repent  his  sins  asks  Aloaro,  who  is 
known  as  Father  Raphael,  to  confess  him,  but  the  monk*  is  under  the  curse  of  the  cave  ana 
cannot.  He  goes  to  call  the  friar  who  dwells  in  the  cave ;  Leonora  rushes  forth,  sees  her 
brother  wounded  and  embraces  him,  but  true  to  his  vow  made  in  Act  I  he  makes  a  dying 
effort  and  stabs  her  to  the  heart. 

This  dramatic  scene  has  been  put  by  Verdi  into  the  form  of  a  trio. 

Non  imprecare,  umiliati  (Swear  Not,  Be  Humble) 

By  Ida  Giacomelli,  Soprano ;  Gino  Martinez-Patti,  Tenor ;  Cesare  Preve, 

Bass     (Double-faced— S^  Mow)  (In  Italian)     68026     12-inch.  $1.25 

Don  Aloaro  then  completes  the  catalogue  of  horrors  by  throwing  himself  from  a  cliff 

just  as  the  monks  arrive  singing  the  Miserere.      The  curtain  then  falls,  evidently  because,  as 

one  critic  has  said,  every  member  of  the  cast  being  dead,  there  seems  to  be  no  reasonable 

excuse  for  keeping  it  up  any  longer ! 


DOUBLE-FACED  FORZA  DEL  DESTINO  RECORDS 

/Overture  By  Arthur  Pryor's  Band\ 

\     Orpheus  in  Hades  Overture     (Offenbach-)       By  Arthur  Pryor's  Band} 
/Overture,  Part  I  By  La  Scala  Orchestral,.  afino      ,~   •     t,       -,  <,< 

{Overture,  Part  II  By  La  Scala  Orchestra}68  lch'     1'25 

Le  minaccie,  i  fieri  accenti     (Let  Your  Menaces) 

By  Carlo  Barrera,  Tenor,  and  Giuseppe  Maggi,  Baritone 

(In  Italian) 
Solenne  in  quest'ora  (Swear  in  This  Hour)  By  Carlo 

Barrera,  Tenor,  and  Giuseppe  Maggi,  Baritone          (In  Italian) 
Non  imprecare,  umiliati  By  Ida  Giacomelli,  Soprano ; 

Gino    Martinez-Patti,    Tenor;    Cesare    Preve,    Bass 

(In  Italian) 

Ballo  in  Maschera—Ah  !  qual  soaoe  brivido  ( Thy  Words,  Like  Dew) 
By  Ida  Giacomelli,  Soprano,  and  Gino  Martinez-Patti,   Tenor 

(In  Italian) 
Solenne  in  quest'ora  (Swear  in  This  Hour)     By  Luigi 

Colazza,  Tenor,  and  Ernesto  Caronna,  Baritone      (Italian)  I, 
r^  TII  /  T>I     r~%i  /•  */•     ,i\          o  /o 

raust — lo  voglio  il  placer  ( 1  he  Pleasures  of  Youth)         ay 

G.  Pini-Corsi,   Tenor,  and  Aristodemo  Sillich,  Baritone    (Italian)) 


68213      12-inch,     1.25 


68O26      12-inch,     1.25 


(Italian) 

FRA  DIAVOLO 

(Frah  Deah'-ooh-loh) 

COMIC  OPERA  IN  THREE  ACTS 

Libretto  by  Scribe,  devised  from  the  story  of  Lesueur's  earlier 
opera,  La  Caverne.  Music  by  Daniel  Francois  Esprit  Auber.  First 
production  at  the  Ope~ra  Comique,  Paris,  January  28,  1830. 
Presented  in  Vienna,  1830.  London,  at  the  Drury  Lane  Theatre, 
in  English,  November  3,  1831.  In  Italian  at  the  Lyceum  Theatre, 
London,  July  9,  1857.  First  American  production  at  the  Old 
Park  Theatre,  New  York,  in  English,  June  20,  1833.  It  was  not 
until  1864  that  it  was  given  in  Italian  in  New  York,  and  this  was 
at  the  Academy  of  Music,  with  Clara  Louise  Kellogg.  Colonel 
Mapleson  gave  three  performances  of  the  opera  at  the  Academy 
of  Music  in  1885.  It  was  recently  revived  at  the  Manhattan 
Opera  and  afterwards  at  the  New  Theatre  by  the  Metropolitan 
forces. 


Characters 

FRA  DIAVOLO,  calling  himself  "  Marquis  of  San  Marco  "... 
LORD  ROCBURG  (Lord  Allcash),  an  English  traveler 

LADY  PAMELA  (Lady  Allcash),  his  wife 

LORENZO,  Chief  of  the  Carabiniers 

MATTEO,  the  innkeeper 

ZERLINA,  his  daughter 

GlACOMO.-l.,  .  ,  „  _.  , 

Companions  of  hra  Diavolo 

J 


.  .  .  Tenor 
.  .  .Tenor 
. Soprano 
.  .  .Tenor 
....  Bass 
. Soprano 
f  Bass 
'  '  \Tenor 


The  Scene  :  Italy,  in  the  neighborhood  of  Terracina. 

146 


VICTOR      BOOK      OF      THE      OPERA  — FRA      DIAVOLO 


The  story  of  Fra  Diavolo  is  melodramatic  in  the  highest  de- 
gree. Lorenzo,  in  command  of  the  Roman  Dragoons,  is  leaving 
Matteo's  inn  to  capture  Diavolo  and  his  brigands,  just  as  Lord 
Rocburg  and  his  wife,  Pamela,  who  are  traveling  under  the 
names  of  Lord  and  Lady  Allcash,  arrive,  lamenting  their  mis- 
fortunes, having  been  robbed  on  the  road.  Another  traveler, 
calling  himself  Marquis  of  San  Marco,  who  is  no  other  than  Fra 
Diaoolo,  appears  soon  after  and  is  also  welcomed  by  the  inn- 
keeper, Malteo,  and  his  daughter,  Zerlina.  Lorenzo  is  in  love 
•with  Zerlina,  but  she  has  been  promised  by  her  father  to  a  rich 
peasant.  The  Marquis  openly  courts  Lady  Allcash  and  at  the 
same  time  manages  to  relieve  her  of  her  jewels. 

Giacomo  and  Beppo,  two  of  Diaoolo 's  companions,  appear  on 
the  scene,  and  when  all  are  asleep,  are  admitted  through  the 
•window  by  the  bandit.  All  three  conceal  themselves  in  Zerlina 's 
room,  and  after  she  has  retired  they  proceed  to  again  rob  Lord 
and  Lady  Allcash.  Lorenzo  now  returns,  having  killed  most  of 
the  band  of  robbers  and  recovered  the  Englishman's  property. 

He~expects  to  receive  the  proffered  reward  of 

ten  thousand  piastres,  and  his  hopes  of  winning 

Zerlina  seem  brighter. 

The  soldiers  arrive  at  the    inn    in  time  to 

discover    the    robbery,    but    Diavolo  covers  the 

retreat  of  his  fellow-bandits  by   pretending  to 

have  a  rendezvous  with  some  lady,  arousing  the 

jealousy  of  both  the  Englishman   and  Lorenzo, 

the  latter  challenging  him  to  a  duel. 

The  last  act  of  the  opera  shows  the  forest 

•where  the  duel  is  to  take  place.      As  Lorenzo 

sadly  watches  the  marriage  procession  of  Zerlina 

and  the  peasant  Francisco  approach,  he  recognizes 

in  the  crowd   Giacomo   and   Beppo.        Both    are 

arrested    by   the    young  captain,    who  through 

them  hopes  to  capture  the  chief,  Fra  Diavolo. 

The  two  brigands  are  forced  to  betray  Diavolo 

and  lure  him  into  a  trap,  where  he  is  ensnared 

and  shot.     As  a  fitting  climax,  the  happy  Lorenzo 

wins  Malteo' s  daughter  for  his  bride. 

Those  who  hear  these  records  of  Auber's 

melodious  opera  will  be  charmed  by  the  bril- 
liant and  fluent  measures,  varied  here  and  there 

•with  pretty  bits  of  sentiment,  which  go  hand  in 

hand    •with    the   romantic   story    of   the    Italian 

bandit. 

The  Victor  offers  a  fine  record  of  the  Agnese 

la    zitella,    the     popular    Italian  melody   which 

Diavolo    sings    in    Act    II,    to    warn   his    com-    COPY-T  OUPOUT  -^      » 

panions,    Beppo    and   Giacomo,   that  all  is  quiet 

in    the    house    and  they  may  now  carry  out  their  scheme  to  again  rob  Lord  Rocburg  and 

Lady  Pamela. 

Records  of  the  Overture  and  principal  selections  from  the  opera  by  two  famous  bands 

are  also  offered,   while  the  brilliant  opera  aggregation   has  given  a  tuneful  presentation  of 

some  of  the  gems  of  Auber's  work. 


Gems  from  Fra  Diavolo 

Chorus,  "Victoria" — Solo,  "Over  Yonder  Rock  Reclining" — Easter 
Chorus,  "Hail,  Blessed  Morn" — Chorus,  "Bless'd  Powers  That  Still  the  Good 
Protect" — Solo,  "Friend,  Beppo,  See" — Finale,  "Victoria." 

By  the  Victor  Opera  Company     31829      12-inch,     $1.00 
H7 


VICTOR     BOOK       OF       THE      OPERA  — FRA      DIAVOLO 


LORD    AND    LADY    ALLCASH 


The  medley 
opens  with  the 
chorus  of  greet- 
ing to  the  sol- 
diers : 

Victoria!  Victoria! 
Joy      now      reigns 
around. 

Then  comes  a 
bit  of  Zerlina  's 
ballad  about  the 
dread  Fra  Dia- 
volo,  "On Yonder 
Rock  Reclining," 
followed  by  the 
Easter  Chorus. 
The  prayer  in 
Act  III,  "Blest 
Powers  That  Still 
the  Good  Pro. 
tect,"next  occurs. 

The  remaining  numbers  are  the  boast  of  Diatiolo  as 
he  sees  victory  for  all  his  schemes:  "The  lord's  gold 
and  his  wife  all  are  mine ! "  and  the  chorus  of  thanks- 
giving at  the  final  capture  and  death  of  the  bandit, 
sung  to  the  melody  of  Diavolo  's  air  in  Act  I. 


DIAVOLO    AND    ZERLINA 


(Overture  to  Fra  Diavolo 

\     Marriage  of  Figaro  Overture     (Mozart) 

{Fra  Diavolo  Selection  By  Vessella's  Italian  Band] 

Daughter  of  the  Regiment  Selection     (Donizetti)  [35191       12-inch,        1.25 

By  Vessella's  Italian  Band] 

f Agnese,  la  zitella  (Agnes,  Beautiful  Flower)  1 

By  Pietro  Lara,  Tenor     (In  Italian)  L _.  yi       ,  n  •     t,  7< 

Barbiere-Guarda  Don  Bartolo  63171       1O-mch-          '75 

By  Huguet,  Corsi,  Pini-Corsi  and  Badini) 


(German)  (English) 

DER  FREISCHUTZ          THE  FREESHOOTER 

(DerFn/-iheulz) 

ROMANTIC  OPERA  IN  THREE  ACTS 

Words  by  Friedrich  Kind  ;  music  by  Carl  Maria  von  Weber  (his  eighth  opera) ;  completed 
as  Die  Jdgarsbraut,  May  13,  1820.  Produced  at  Berlin,  June  18,  1821;  in  Dresden,  1822;  in  Paris 
(as  Robin  des  Bois,  with  new  libretto  by  Blaze  and  Sauvage,  and  many  changes),  at  the  Odeon, 
December  7,  1824.  Another  new  version,  with  accurate  translation  by  Pacini,  and  recita- 
tives by  Berlioz,  at  the  Academic  Royal e,  June  7,  1841,  under  the  title  of  Le  Franc  Archer. 
In  London  as  Der  Freischutz  or  The  Seventh  Bullel,  with  many  ballads  inserted,  July  23, 
1824;  in  Italian,  as  //  Franco  Arciero,  at  Covent  Garden,  March  16,  1850  (recitatives  by 
Costa) ;  in  German,  at  King's  Theatre,  May  9,  1 832.  It  was  revived  at  Astley's  Theatre  with 
a  new  libretto  by  Oxenford, 
April  2,  1 866.  First  New  York 
production,  in  English,  March 
12,  1825. 


Cast 
PRINCE  OTTOKAR,  Duke  of 

Bohemia Baritone 

CUNO,  head  ranger Bass 

MAX,  \two  young  /Tenor 
CASPARjforesters  \  Bass 
KlLJAN,  a  rich  peasant .  .  Tenor 

A  HERMIT Bass 

ZAMIEL,  the  fiend  huntsman 
AGNES,  Cuno's  daughter, 

Soprano 

ANNIE,  her  cousin .  .  .  Soprano 

Chorus  of  Hunters,  Peasants, 

Bridesmaids,  and  Spirits. 


Scene    and    Period:      Bohemia, 

shortly  after  the  Seven 

Years'  War. 


SCENE   OF  ACT    I 


VICTOR      BOOK      OF      THE       OPERA— DER      FREISCHUTZ 

The  word  freischulz,  probably  better  translated  as  "  free  marksman,"  means  a  Schiitz  or 
marksman  who  uses  charmed  bullets  which  do  not  depend  on  the  aim  of  the  shooter. 

Overture  to  Freischutz 

By  Sousa's  Band 

By  La  Scala  Orchestra 


(Double-Faced—Seepage  75 /) 
(Double-Faced—See  page  151} 


35OOO 
62636 


12-inch,  $1.25 
10-inch,        .75 


4  The  overture  presents  the  story  of  the  opera  in 
a  condensed  form.  An  introduction  with  a  tender 
horn  passage  leads  us  into  the  forest.  Night  is  fall- 
ing and  mysterious  sounds  are  heard.  The  allegro, 
representing  the  doubts  of  the  good  but  vacillating 
young  hunter,  begins,  and  the  sound  of  the  magic 

bullets  can  be  heard  as  they  drop  in  the  melting 
pot.  Next  a  beautiful  melody,  portraying  love  and 
happiness,  appears,  but  this  in  turn  is  succeeded  by 
another  mood  of  distress.  At  length  the  triumphant 
strain  indicative  of  the  final  victory  is  sounded, 
leading  up  to  a  splendid  climax. 

Sousa's  Band  has  given  a  stirring  performance 
of  this  brilliant  overture,  while  the  rendition  by  La 
Scala  Orchestra  will  please  those  who  prefer  orches- 
tral music. 

The  story  of  the  opera  is  founded  on  a  German 
tradition,  told  among  huntsmen,  that  whoever  •will 
sell  his  soul  to  Zamiel,  the  Demon  Hunter,  may  re- 
ceive seven  magic  bullets,  which  will  always  hit  the 
mark.  For  each  victim  whom  he  succeeds  in  secur- 
ing for  the  Demon,  his  own  life  is  extended,  and  he 
receives  a  fresh  supply  of  the  charmed  missiles. 

Cuno,  head  ranger  to  Ottawa  f,  a  Bohemian 
prince,  has  two  assistants,  Max  and  Caspar,  both 

excellent  marksmen.  Max  is  in  love  with  Agnes,  Cuno's  daughter,  who  has  promised  to  be 
his  bride  only  on  condition  that  he  proves  himself  the  best  shot  at  a  forthcoming  contest. 
This  contest,  however,  is  won  by  Kilian,  a  peasant.  Max,  in  a  dramatic  air,  bewails 
his  bad  luck. 

Durch  die  Walder  (Thro'  the  Forest) 

By  Daniel  Beddoe.  Tenor  (In  English}     74244     12-inch.  $1.5O 

He  believes  he  is  cursed  by  an  evil  spirit  which  causes  his  hand  to  fail. 


MAX: 

O,  I  can  bear  my  fate  no  longer! 

E'en  hope  is  banished  from  my  soul! 
What  unknown  grief  thus  haunts  my  spirit, 

And  o'er  me  works  its  dark  control? 
Thro'  the   forests,   thro'   the   meadows, 


While  my  rifle,   never  failing, 

Made  each  bird  and  beast  my  prey. 

When  at  length  from  chase  returning, 
Ere  home  rose  before  my  sight, 

Agnes,  smiling  met  me, 

Cloth'd   in   beauty's   heavenly  light. 

But  now   am   I  by  Heaven   forsaken 


Caspar,  who  has  already  put  himself  in  the  power  of  Zamiel,  sees  here  an  opportunity 
to  extend  his  own  days  of  grace,  and  advises  Max  to  seek  the  magician  and  secure  some  of 
the  magic  bullets. 

Neou,  qu  il  ne  m'echappe  pas  (Caspar's  Air) 

By  Marcel  Journet,  Bass  (In  French)     64236     10-inch,    $1.00 

He  finally  induces  Max  to  meet  him  in  the  Wolf's  Glen  in  order  to  receive  the  magic 
bullets,  which  he  declares  will  always  hit  the  mark.  Max  departs  and  Caspar  gives  vent  to 
a  fierce  joy  in  this  florid  and  dramatic  number. 

In  the  meantime  Agnes  is  anxiously  awaiting  her  lover  and  is  much  alarmed  at  his 
non-appearance.  Annie,  her  cousin,  endeavors  to  cheer  her  by  singing  a  gay  air. 

150 


VICTOR      BOOK      OF      THE      OPERA-DER      FREISCHUTZ 


THE    CASTING   OF   THE    MAGIC    BULLETS 


Annie's  Air/'Comes 
a  Gallant  Youth" 

By  Marie  A.  Michailowa, 
Soprano      (In  Russian) 
61134     10-inch,  $1.0O 

She  describes  playfully 
the  attitude  a  shy  maiden 
should  assume  when  the  right 
young  man  happens  along. 

ANNIE: 

Comes  a  gallant  youth  towards 

me, 

Be  he  golden  hair'd  or  dark, 
Eyes  that   flash   as  he   regards 

Him  my  captive  I  will  mark! 

Eyes  bent   down   to   earth   for 
shyness, 

As  befits  a  modest  maid, 
With  a  stolen  look  of  slyness 

Yet  may  ev'rything  he  said! 


And  if  swift  emotion  rushes, 

Shot  from   answ'ring  lip  and  eye, 
Nothing  worse  than   maiden  blushes 

Need   the   gallant  stranger   spy! 

Annie  begs  Agnes  to  retire,  but  the  young  girl  says  she  will  wait  for  her  lover.  Left  alone, 
she  draws  the  curtains  aside,  revealing  a  starlight 
night.  She  exclaims  at  the  beauty  of  the  night,  and 
folding  her  hands  in  prayer,  she  prays  for  the  safety 
of  her  lover,  and  asks  Heaven  to  watch  over  them  both. 

Preghiera     (Agatha's  Prayer) 

By  Emilia  Corsi  *  62636  10-inch,  $0.75 
Max  arrives,  followed  by  Annie,  but  seems  em- 
barrassed and  says  he  must  go  to  bring  in  a  stag  he 
has  shot  near  the  Wolf's  Glen.  Agnes  begs  him  not 
to  go  near  that  haunted  spot,  but  he  disregards  her 
warning  and  goes  out. 

The  scene  changes  to  the  Wolf's  Glen,  where 
Max  meets  Caspar,  and  the  magic  bullets  are  cast 
amid  scenes  of  horror,  while  the  demon  Zamiel  hovers 
near  awaiting  his  prey.  Max  is  returning  with  his 
prize  when  he  meets  the  Prince,  who  asks  him  to 
shoot  a  dove.  The  hunter  complies,  just  missing 
Agnes,  who  has  come  to  the  wood  in  search  of  her 
lover.  Caspar  is  wounded  by  the  very  bullet  which 
he  had  intended  should  slay  Agnes  at  the  hands  of 
Max.  Zamiel  carries  off  his  victim,  while  Max  is 
forgiven  and  all  ends  happily. 


AGATHA    AND    ANNA 


DOUBLE-FACED  FREISCHUTZ  RECORDS 


i Overture  to  Freischiitz 
Carmen  Selection 
Overture  to  Freischiitz 


By  Sousa's  Band! 
By  Sousa's  Band\ 
By  La  Scala  Orchestral 


35OOO      12-inch,  $1.25 
62636     lO-inch,       .75 


(Preghiera    (Agatha's  Prayer)    Emilia  Corsi,  Soprano    (Italian)! 

(I,  Prayer  from  Freischiitz     2.  Greeting         Victor  Brass  Qt.\ .,,,,»     in  .     < 
Venetian  Love  Song     (Canzone  Amoroso)  '"-'"  ^-'—  lO-mch, 


Victor  Orchestra] 


.75 


'  Double-Face  J  Record— For  title  of  opposite  side  see  aboix  list. 

151 


(CARUSO,   DESTINN   AND   AMATO) 


(Italian) 

GERMANIA 

(Jaer-mah1 -nee-ah) 

A.  Lyric  Drama  in  a  Prologue,  Two  Scenes  and    Epilogue 

Text  by  Luigi  Illica.  Music  by  Alberto  Franchetti.  First  production  at  Milan  in  1902- 
First  American  production,  New  York,  January  22,  1910,  with  Caruso,  Destinn  and  Amato. 

Cast  of  Characters 

GIOVANNI  FILJPPO  PALM Bass 

FEDERICO  LCEWE)  f    Tenor 

CARLO  WORMS    ^Students ^Baritone 

CRISOGONO  J  [Baritone 

RICKE Soprano 

JANE,  her  sister Mezzo-Soprano 

LENE  ARMUTH,  an  aged  beggar-woman Mezzo-Soprano 

JEBBEL,  her  nephew Soprano 

STAFFS,  Protestant   Priest Bass 

LUIGI  ADOLFO  GUGLJELMO  LtJTZOW Bass 

CARLO  TEODORO  KORNER Tenor 

SIGNORA  HEDVIGE Mezzo-Soprano 

PETERS,  a  herdsman Bass 

Chief  of  German  Police Bass 

Historical  Personages,  Students,  Soldiers,  Police  Officers,  Members  and 

Associates  of  the  "Tugendbund,"  "Louise-Bund" 

and  "  Black  Knights  "  ;  Forest  Girls. 

Time:  1813. 

The  opera  is  the  work  of  an  Italian  nobleman,  who,  although  a  very  wealthy  man,  is 
ambitious  and  makes  the  writing  of  operas  his  hobby.  Germania  is  a  picturesque  and  in- 
teresting opera,  full  of  local  color,  describing  the  Germany  of  the  time  of  Napoleon,  with  its 
many  conspiracies ;  and  for  this  the  Baron  has  written  much  effective  and  agreeable  music. 
The  action  takes  place  in  1813,  at  the  time  of  the  battle  of  Leipzig. 

152 


VICTOR    BOOK     OF    THE     OPERA  — FRANCHETTI'S    GERMANIA 

PROLOGUE 

SCENE — An  Abandoned  Mill  near  Nuremberg 

A  company  of  students,  under  the  leadership  of  Giovanni  Palm,  have  occupied  an  old 
mill,  and  are  shipping  sacks  of  grain,  which  really  contain  political  documents  intended  to 
rouse  the  people  to  revolt.  Prominent  among  the  students  is  Worms,  who  previously  had 
a  love  affair  with  Ricke,  a  young  girl  who  is  now  betrothed  to  Loewe,  the  poet  and  warm 
friend  of  Worms.  Loewe  is  expected  to  arrive  at  any  moment,  and  Ricke  dreads  his  coming, 
as  she  has  made  up  her  mind  to  tell  him  her  guilty  secret.  Worms,  however,  divines  her 
purpose  and  bids  her  keep  silent,  as  in  the  duel  which  was  sure  to  occur  Loewe  would 
likely  be  the  one  to  die. 

Loewe  arrives  and  is  joyfully  greeted  by  the  conspirators.  He  encourages  them  to  fresh 
efforts  in  his  noble  aria. 

Studenti,  udite  !    (Students,  Hear  Me  !) 

By  Enrico  Caruso,  Tenor  (In  Italian)     87053      lO-inch,     $2.OO 

Caruso  delivers  this  inspiring  number  with  splendid  effect,  showing  well  the  beauty  and 
power  of  his  marvelous  voice. 

The  enthusiasm  which  follows  Loewe 's 
great  address  is  rudely  interrupted  by  the 
arrival  of  the  police,  who  seize  Palm  and 
take  him  away  to  his  death. 

ACT  I 

SCENE— A  Cottage  in  the  Black  Forest 

Seven  years  have  elapsed.  Hither 
Loen>e  has  come  after  the  disastrous  cam- 
paign of  1806,  which  followed  the  plotting 
in  the  old  mill.  He  lives  in  this  hut  with 
his  aged  mother  and  the  two  girls,  Ricke 
and  her  sister  Jane.  Worms  has  disap- 
peared and  is  supposed  to  be  dead. 

Loewe  is  about  to  be  married  to 
Ricke,  and  the  bridesmaids  now  arrive  to 
deck  the  cottage  with  flowers.  Ricke,  think- 
ing of  her  past,  is  melancholy,  but  the 
marriage  ceremony  is  performed  and  the 
bride  and  bridegroom  are  left  alone. 
Federico  clasps  her  in  his  arms  and  sings 
his  beautiful  air  to  the  eyes  of  his  bride. 

Non  chiuder  gli  occhf  vaghi 
(Close  Not  Those 
Dreamy  Eyes) 

By  Enrico  Caruso,  Tenor 
(/n//a/«an)87054     lO-inch,     $2.00 

Forgetting  the  past,  Ricke  yields  herself  to  the  joy  of  the  moment  and  tenderly  kisses 
him,  when  suddenly  from  the  forest  is  heard  a  familiar  voice  singing  an  old  student  song. 
"  Worms!"  joyfully  cries  Federico,  and  runs  out  to  meet  his  old  friend,  who  is  wasted  and 
battle-scarred. 

Worms,  in  a  dramatic  aria,  tells  his  friend  how  he  has  literally  come  back  from  the  dead. 
He  relates  his  thrilling  escape  from  prison,  his  delight  in  his  new-found  liberty,  and  his 
earnest  desire  for  vengeance. 

Ferito,  prigionier     (A  "Wounded  Prisoner) 

By  Pasquale  Amato,  Baritone  (In  Italian)     88437     12-inch,  I3.OO 

Amato,  who  was  the  original  Worms  in  America,  sings  this  great  air  with  splendid  effect. 

Worms  is  astonished  to  see  Ricke,  who  has  been  listening  half  hidden  behind  the  folds  of 

a  curtain.       She  looks  coldly  at  him  and  he  uneasily  says  he  must  be  on  his  way.     Federico 

153 


VICTOR    BOOK    OF     THE     OPERA— FRANCHETTI'S    GERMANIA 


protests,  but  Worms  insists  and  departs. 
Ric^e,  overcome  by  this  reminder  of  her 
past  misfortune,  resolves  to  leave  her  hus- 
band, and  writes  him  a  note  and  flees  into 
the  forest.  Federico  returns,  reads  the 
note,  and  wrongfully  concludes  that  she 
has  fled  with  Worms. 

ACT  II 

SCENE— A  Cellar  in  Konigsberg 
In  this  underground  retreat  Worms  is 
again  plotting  against  Napoleon.  A  meeting 
of  the  Council  is  in  progress,  when  Federico 
appears  and  demands  that  Worms  shall 
fight  with  him  to  the  death,  but  Worms, 
kneeling,  asks  Federico  to  kill  him.  Federico 
replies  with  a  violent  blow  in  the  face,  at 
which  Worms  decides  to  fight  him,  and 
preparations  for  the  duel  are  begun.  They 
are  interrupted  by  the  entrance  of  Queen 
Louise,  who  suggests  that  such  brave  men 
had  better  be  using  their  swords  for  their 
country.  Fired  with  enthusiasm,  the 
enemies  embrace  each  other  and  swear  to 
die  for  Germany. 

EPILOGUE 

SCENE—  The  Battlefield  of  Leipzig 
The  awful  three  days*  conflict  is  over 
and  the  field  is  a  mass  of  ruins,  battered  •wheels  and  dead  and  wounded  men.  Ricfce 
searches  for  the  body  of  Federico  that  she  may  look  upon  his  face  once  more.  She  finds 
him  dying,  but  he  recognizes  her,  and  telling  her  that  the  body  of  Worms  is  nearby,  asks 
her  to  forgive  him  as  he  himself  has  done.  Ricfye  looks  on  the  face  of  the  man  who  had 
ruined  her  life  and  forgives  him. 

She  returns  to  her  husband  and  when  he  dies  in  her  arms  waits  beside  his  body  for 
her  own  death,  which  she  feels  approaching.  As  the  sun  sets  the  defeated  Napoleon  with 
the  shattered  remains  of  his  army  is  seen  retreating. 


FRANCHETTI    PLAYING  HIS   SCORE    TO    D'ANNUNZIO 


CELLAR  SCENE — ACT  I 


154 


(Italian) 

LA  GIOCONDA 

(Lah  Joh-kon'-dah) 

OPERA  IN   FOUR  ACTS 

Libretto  by  Arrigo  Boito ;  music  by  Amilcare  Ponchielli.  It  is  an  adaptation  of  Victor 
Hugo's  drama,  "Angelo,"  and  was  first  presented  at  La  Scala,  Milan,  April  8,  1876.  First 
London  production  in  the  summer  of  1883.  First  New  York 
production  December  20,  1883,  with  Christine  Nilsson, 
Scalchi,  Fursch-Madi,  del  Puente  and  Novara. 


Characters 

LA  GIOCONDA,  a  ballad  singer Soprano 

LA  CIECA,  (See-a^-kah)   her  blind  mother Contralto 

ALVISE,  (Al-oee'-zay)  one  of  the  heads  of  State  Inquisition  .  .  Bass 

LAURA,  his  wife Mezzo-Soprano 

ENZO  GRIMALDO,  a  Genoese  noble Tenor 

BARN  ABA,  a  spy  of  the  Inquisition Baritone 

ZUANE,  a   boatman Bass 

ISEPO,  public  letter- writer Tenor 

A  PILOT Bass 

Monks,  Senators,  Sailors,  Shipwrights,  Ladies, 
Gentlemen,  Populace,  Masquers,  etc. 


The  action  takes  place  in   Venice,  in  the  seventeenth  century. 


Gioconda  is  a  work  of  great  beauty,  full  of  wonderful  (MILAN,   1876) 

arias,    duets  and  ensembles,   with  fine  choral  effects,  and  a 

magnificent  ballet.  The  book  is  founded  on  Hugo's  "Tyrant  of  Padua,"  and  tells  a  most 
dramatic  story,  which,  however,  cannot  be  called  inviting,  as  the  librettist  has  crowded 
into  it  nearly  all  the  crimes  he  could  think  of ! 

But  the  average  audience  does  not  concern  itself  much 
with  these  horrors,  being  engaged  in  listening  to  the  beautiful 
music,  and  admiring  the  splendid  scenes  and  colorful  action. 
Therefore  the  story  will  be  but  briefly  sketched  here. 

ACT  I 

SCENE— Street  near  the  Adriatic  Shore,  Venice 
Gioconda,  a  ballad  singer  who  is  in  love  with  Enzo,  a  Gen- 
oese noble  and  captain  of  a  ship  now  in  the  harbor,  supports 
her  blind  mother,  La  Cieca,  by  singing  in  the  streets  of  Venice. 
She  has  attracted  the  attention  of  Barnaba,  an  influential  police 
spy,  and  he  plans  to  gain  her  affections. 

This  is  the  situation  at  the  rise  of  the  curtain.  The  stage  is 
filled  with  people .  peasants,  sailors,  masquers,  all  in  holiday  at- 
tire. Barnaba  is  leaning  against  a  pillar,  watching  the  gay  scene. 
The  chorus  sing  their  opening  number,  Sports  and  Feasting. 

Feste  !  pane  !  (Sports  and  Feasting  !) 

By  La  Scala  Chorus  (Inltalian)  *45010  10-inch,  $1.OO 
At  the  close  of  this  number,  Barnaba  advances  and  an- 
nounces the  commencement  of  the  Regatta.  All  hasten  to  the 
shore,  while  Barnaba  remains  to  soliloquize  on  his  plot  to  secure 
the  lovely  Gioconda.  Gioconda  enters,  leading  her  mother,  La 
Cieca,  by  the  hand,  and  Barnaba  hastily  hides  behind  a  column 
to  watch  them.  La  Cieca  sings  a  beautiful  air,  blessing  her 
daughter  for  her  tender  care,  and  this  leads  to  a  trio. 

*  Doable-Faced  Record— For  title  of  opposite  ,idt  ,ce  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  161. 

155 


MUSICAL  AMERICA 

DESTINN    AS    GIOCONDA 


VICTOR     BOOK     OF     THE      OPERA—  LA     GIOCONDA 


Figlia  che  reggi  tremulo  pie    (Daughter,  My  Faltering  Steps) 

By  A.  Rossi  Murino,  Soprano ;  Lopez  Nunes,  Soprano ; 

(In  Italian)     *55O17      12-inch,  $1.5O 

GIOCONDA    (tenderly)  : 

Place  thy  dear  hand  once  more  in  mine 
Thy  steps  I'm  safely  guiding; 
Here   recommence   thy   daily   life, 
In  calm  contentment  gliding. 

BARNABA   (aside)  : 

With    fiercest   joy    my    heart    would    be    enrap- 
tured 

If  in   my  net  she  were  securely  captured! 
The   wildest   ecstasies   within    me   waken! 
Be 


Ernesto  Badini,  Baritone 

LA  CIECA: 

Daughter,    in   thee   my   faltering  steps 

Find  guidance  and  protection; 

I   gratefully   bless  my  loss  of  sight, 

That    heightens   thy   affection ! 

While  thou   unto   mankind  thy   songs  are  sing- 
ing. 

To  Heav'n  my  ceaseless  pray'rs  their  flight  are 
winging. 

For  thee  I  pray  and  render  thanks  to  Fate 

That   left   me   sightless, — but   not   desolate! 

Gioconda  leaves  to  seek 
Enzo,  but  Barnaba  stops  her 
and  boldly  declares  that  he 
loves  her.  She  shudders  with 
an  instinctive  aversion,  and 
bids  him  stand  aside.  He  at- 
tempts to  seize  her,  but  she 
eludes  him  and  makes  her 
escape,  leaving  the  spy  furious 
and  planning  revenge. 

The  people  now  return 
from  the  Regatta,  bearing  the 
victor  on  their  shoulders. 
Barnaba,  seeing  the  defeated 
combatant,  Zuane,  conceives 
a  plan  to  deprive  Gioconda  of 
her  mother,  thus  leaving  him 
free  to  carry  out  his  plans. 
He  takes  Zuane  aside  and  tells 
him  that  the  blind  La  Cieca  is  a 


SCENE ACT    I 


tch  who  has  cast  a  spell  over  him,  causing  his  defeat. 
The  old  woman  is  being  roughly  handled  by  Zuane  and  his  friends  when  Enzo  suddenly 
appears  and  protects  her,  holding  the  mob  at  bay. 

Aloise,  Chief  of  the  Council,  enters  with  his  wife  Laura,  formerly  betrothed  to  Enzo. 
Laura  pleads  for  Cieca,  and  she  is  protected  by  Alvise.  The  blind  woman  voices  her  grati- 
tude in  this  lovely  song,  which  is  familiar  to  most  concert- goers. 


Voce  di  donna  (Angelic  Voice) 


By  Louise  Homer,  Contralto     (In  Italian)     851O4     12-inch,  $3.OO 

Although  the  part  of  the  blind  mother,  La  Cieca,  has  never  been 
sung  by  Mme.  Homer,  she  being  usually  cast  for  Laura  (the  superb 
lady  of  Venice  and  rival  of  Gioconda),  this  beautiful  air  has  always 
appealed  to  her.  It  is  considered  the  finest  single  number  in 
Ponchielli's  work,  and  is  undoubtedly  one  of  the  loveliest  gems  in 
this  or  any  other  opera. 

Certain  it  is  that  no  Cieca  of  present  memory  has  ever  delivered 
this  romance  with  such  richness  of  voice  and  such  touching  pathos. 
This  beautiful  passage— 


•which  is  sung  as  La  Cieca  presents  the  rosary,  is  perhaps  the  most 
effective  part  of  the  aria. 

Mme.  Homer's  singing  of  this  Voce  di  donna  makes  this  record 
one  of  the  gems  of  the  Victor's  fine  production  of  La  Qioconda,  and  it 
should  form  part  of  every  opera  collection. 

*  Double-FaceJ  Record- For  title  of  ofifioiite  ,ije  ,ee  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  I6L 

156 


HOMER    AS    LAURA 


VICTOR  BOOK  OF  THE   OPERA  — LA  GIOCONDA 


LA  CIECA: 

Thanks  unto  thee,   angelic  voice, 
My  fetters  asunder  are  broken; 
I  cannot  see  the  face  of  her 
By  whom   those  words  were  spoken. 
(Takes  the  rosary  from  her  belt.) 


This  rosary  I  offer  thee — no  richer  boon  pos- 
sessing— 

Deign  to  accept  the  humble  gift,  'twill  bring 
to  thee  a  blessing, 

And  on  thy  head  may  bliss  descend;  I'll  ever 
pray  for  thee! 


All  go  into  the  church  except  Enzo,  who  stands  gazing  after  Laura,  having  recognized 
his  former  love.  Barnaba  approaches  him  and  tells  him  that  Laura  plans  to  visit  the  Genoese 
noble's  ship  that  night.  Enzo,  whose  love  for  Laura  has  revived  at  the  sight  of  her,  is 
delighted  at  this  news,  and  forgetting  Gioconda,  he  returns  to  his  ship. 

This  scene  has  been  put  by  Verdi  into  the  form  of  a  dramatic  duet,  sung  here  by  Conti 
and  Badini,  of  the  La  Scala  forces. 

Enzo  Grimaldo    (Duet  Enzo  and  Barnaba) 

By  F.  Conti,  Tenor,  and  E.  Badini,  Baritone    (In  Italian)     *45O33      1  0-inch,  $  1  .OO 

BARNABA   (approaching  Enzo)  : 

Enzo  Grimaldo, 

Prince   of    Santa    Fior,    thou   art   pensive. 
ENZO    (aside)  : 

I   am   discovered! 
BARNABA: 

What  magic  stupor  steals  away  thy  senses? 

'Tis  of  the   Lady   Laura,   Alvise's  wife,   thou'rt 

thinking. 
ENZO   (astonished)  : 

Who  art  thou? 
BARNABA   (impressively)  : 

I    know  all; 


Can  penetrate  thy   thoughts,   however   secret. 

birthplac 
ENZO: 


Thy  birthplace  was  Genoa! 


Prince    I    am    not,    but    sailor.       Yonder's    my 

ship. 

I  am  Dalmatian,  Enzo  Giordan. 
ARNABA: 
For  others,   but   not   for  me.      Proscribed   thou 

wert  by  Venice, 

Yet   hither   thou   art  led,   by  chainless   impulse, 
didst   love   a   maiden 


ife   to   peril.      Thou 
Yonder,  in  thine  own  Genoa,  but  she  another's 


Thy  life  to 
onder,  in 
bride  beca 


CARUSO   AS   ENZO 


ENZO: 

I   have  pledged  my  faith  to  Gioconda. 
BARNABA: 

Poor   wand'ring   ballad-singer! 

Her  thou  dost  love  as  sister,  but  Laura  as  thy 
mistress. 

Thou   hadst   all    hope   abandoned,    dreamed   not 
to   see   her   features, 

But    here,    under    her    velvet    mask,    thy    beau- 
teous angel  saw  thee 

And   recognized  thee. 
ENZO   (joyfully): 

Oh,  happiness! 
BARNABA: 

Love   sees  through   disguises, 

All    this    night    will    her    husband    stay    at    the 

With    the    Great    Council.      Laura    shall    be    on 

board  thy  vessel. 
Love's    sweetest   consolations   await   thee! 

Ah,'  with  what  joy  my  heart  is  filled, 

Fortune  at  last  is  kind! 

But    who    art    thou,    oh,    gloomy    messenger    of 

joy? 
BARNABA: 

I  hate  thee!     I  am  the  demon-in-chief 

Of  the   Council   of  Ten.      Read  this.      Beware 

thee! 


(Ofiens  his  dress  and  shows  the  letters  "C.  X." 
(Council   of    Ten)    embroidered  in   silver   on 
his  vest.) 
ENZO   (starting  back)  : 

Oh,   horror! 
BARNABA  (fiercely): 

To  thy  doom  at   once   I   could  bring   thee,   but 
I   spare  thee. 

Gioconda  loves  thee,   hates  me  fiercely; 

I   have  sworn  to  crush  her   heart. 

Enzo's  death  would  little  serve  me; 

She  must  learn  how  false  thou  art. 
ENZO    (aside)  : 

Kind   Heaven,   to   her  thy   mercy  show, 

Save  her  from  grief  and  pain; 

But  ah,   sweet  Laura,   my  adored, 

Bring  to  my  arms  again! 
BARNABA   (to  Enso): 

Go!   not  a   moment  lose, 

Spread  thy  white  sails  to  the  skies, 

(Aside) 

I   can  my   triumph  read 

In   each   glad   glance   of   thine   eyes! 
ENZO   (going)  : 

When  the  dark  night  falls, 

On  board  my  ship  I  shall  await  my  Laura. 
BARNABA   (sneeringly)  : 

Good  luck  attend  you! 

(Exit.) 


of  oewilesiJexc  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  16  1. 

157 


VICTOR     BOOK     OF     THE      OPERA  — LA      GIOCONDA 


Bamako  then  writes  to  Ahise  that  his  wife  plans  to  elope  with  Enzo.  He  speaks  the 
words  aloud  as  he  writes,  and  is  heard  by  Gioconda,  who  is  overcome  at  this  evidence  of  her 
lover's  faithlessness,  and  heartbroken,  enters  the  church  with  her  mother.  Barnaba  sings 
the  famous  Soliloquy  to  the  Doge's  Palace,  given  here  in  splendid  style  by  Ruffo. 

Oh  Monumento!  (Oh,  Mighty  Monument) 

By  Titta  Ruffo,  Baritone  (In  Italian)     88396     12-inch,  $3.OO 

The  act  closes  with  a  famous  dance,  the  Furlana,  played  here  by  the  famous  Orchestra 
Sinfonica  of  La  Scala. 

Furlana    (Finale,  Act  I) 

By  Italian  Orchestra  *45033     lO-inch,  $1.OO 

ACT  II 

SCENE  —  A  Lagoon  near  Venice  —  it  is  night.     Enzo's  ship  is  shown  at  anchor, 

with  sailors  grouped  on  deck,  resting 

Barnaba,  disguised  as  a  fisherman,  appears  in  his  boat,  hails  the  sailors,  and  singe  them 
a  merry  ballad,  Ah,  pescatorl 

Ah,  pescator  affonda  1'esca  (Fisher  Boy,  Thy  Bait  Be  Throwing!) 


By  Titta  Ruffo,  Baritone 

By  Pasquale  Amato  and  Opera  Chorus 

By  Ernesto  Badini,  Baritone,  and  Chorus 


This  is  one  of  the  most 
popular  numbers  in  the  opera, 
its  beautiful  melody  and 
rhythmical  swing  being  a  wel- 
come relief  in  the  midst  of  so 
much  that  is  gloomy. 

After  taking  careful  note 
of  the  strength  of  the  crew, 
Barnaba  sends  his  aide  for  the 

Eolice   galleys  and    leaves  in 
is  boat. 

Enzo  now  appears,  and  is 
greeted  by  his  men  with  en- 
thusiasm. He  is  in  a  gay  hu- 
mor, thinking  of  Laura's  ex- 
pected visit,  and  bids  the 
sailors  go  below  while  he 
keeps  the  watch. 

Left  alone,  he  gives  ex- 
pression to  his  joy  in  this  great 
aria,  one  of  the  most  beautiful 
in  the  whole  range  of  opera. 
lavish  outpouring  of  voice. 


(In  Italian)  88394  12-inch,  $3.0O 
(In  Italian)  87O93  lO-inch,  2.OO 
(In  Italian)  *45O1O  10-inch,  l.OO 


Caruso  sings  the  number  with  exquisite  purity  of  tone  and  a 


Cielo  e  mar  (Heaven  and  Ocean) 

By  Enrico  Caruso,  Tenor  (In  Italian) 

By  Florencio  Constantino,  Tenor  (In  Italian) 

By  Franco  de  Gregorio,  Tenor  (In  Italian) 


88246     12-inch,  $3.OO 

64070     10-inch,     1.00 

*45027     10-inch,     l.OO 


Especially  noticeable 
is  this  fine  passage — 

comt       I'd   tot    Ku     '    ~ti  Tkat  would  makt  lice  all. would* 

which   the  tenor  delivers   in  splendid  style,  fairly  thrilling  his  hearers. 

Other  fine  records  of  this  effective  number,  by  Constantino  and  de  Gregorio,  are  also 
offered. 


Double-Faced Record—  For  titleof  opposite  side  see  DOUBLE-FACED  LA   GIOCONDA  RECORDS,  page  161. 

158 


VICTOR     BOOK     OF     THE      OPERA  — LA     G  I  O  C  O  N  D  A 


ENZO: 

Heaven  and  ocean!  yon  ethereal  veil 

Is  radiant  as  a  holy  altar, 

My  angel,   will  she  come  from   heaven? 

My  angel,  will  she  come  o'er  ocean? 

Here  I  await  her,  I  breathe  with   rapture 

The  soft  zephyrs  fill'd  with  love. 

Mortals  oft,   when  fondly  sighing, 

Find  ye  a  torment,  O  golden,  golden  dreams. 

Come   then,    dearest,   here   I'm   waiting; 

Wildly   panting  is  my  heart. 
Come   then,   dearest!   oh   come,   my   dearest! 
Oh   come,    taste   the   kisses   that   magic   bliss 
impart ! 

Oh  come!    Oh  come!    Oh  come! 

Laura  now  appears,  and  after  a  rapturous  embrace,  the  lovers 
plan  to  set  sail  when  the  wind  rises.  Enzo  goes  below  to  rouse  the 
men,  when  Gioconda,  disguised,  enters  and  denounces  Laura. 

They  sing  a  splendid  dramatic  duet  in  which  each  declares 
her  love  for  Enzo  and  defies  the  other. 

L/amo  come  il  fulgor  del  create  !  (I  Adore  Him !) 

By  Elena  Ruszcowska,  Soprano,  and  Bianca 
Lavin  de  Casas,  Mezzo-Soprano 

(In  Italian)     88271      12-inch,  $3.00 

Gioconda  is  about  to  stab  her  rival,  when  the  sight  of  a  rosary 
worn   by   her   intended  victim  causes  her  to  repent,  and  she  aids 
Laura  to  escape  just  as  her  husband,  summoned  by  Barnaba  is  ap- 
copyr  MISMKIK  proaching. 

CONSTANTINO   AS  ENZO  Enzo  appears  and  is  greeted  with  reproaches  by  Gioconda,  who 

tells  him  that  the  war  galleys,  led  by  Barnaba,  are  coming  to  capture  the  ship.  Enzo,  stung 
by  Gioconda  's  scorn,  and  heartbroken  at  the  loss  of  Laura,  fires  his  ship  to  prevent  it  falling 
into  the  hands  of  Barnaba. 

ACT  HI 

SCENE — A  Room  in  the  Palace  of  Alvise.     Night 

Ahise  is  discovered  alone,  in  violent  agitation,  planning  the  death  of  Laura  because  of 
her  attempted  elopement  with  Enzo. 

He  sings  a  dramatic  air,  picturing  his  fearful  revenge. 

Si  !  morir  ella  de'  !    (To  Die  is  Her  Doom  !) 

By  Amleto  Galli,  Bass  (In  Italian)     *55019     12-inch.  $1.50 


ALVISE    (in  violent  agitation) : 

Yes,  to  die  is  her  doom!    My  name,  my  honor, 

Shall  not  with  impunity  be  disgraced. 

From  Badoers,  when  betrayed, 

Pity  't  were  vain  to  hope. 

Though  yesterday  upon  the  fatal  isle 

She  'scaped  this  vengeful  hand, 

She   shall    not  escape  a   fearful   expiation. 

Last     night     a     sharp     poniard     should     have 

pierced   her  bosom; 
This   night    no    poniard    I'll    use;    she    dies   by 

poison! 

(Pointing  to   the  adjoining  room.) 
While  there  the  dancers  sing  and  laugh, 
In   giddy   movements   flying, 
Their  mirthful   tones   shall   blend  with   groans, 


Breath'd  by  a  sinner  dying. 

Shades   of   my   honored   forefathers! 

Soon   shall   your   blushes   disappear; 

Soon  shall  a  deadly  vengeance  prove 

Honor   to   me   is   dear. 

While   dance  the  giddy  crowd, 

In    mirthful    movements    flying, 

Here   shall   be   heard  the   bitter  groans, 

The   sinner  breathes  in   dying. 

Yonder,  the  nobles  of  the  nation 

Are  gathered  at  my  invitation; 

Here,   an   insulted   husband 

For  signal  vengeance  cries! 

Exult,  in  dances  and  in  songs, 

While  here  a  faithless  one  dies! 


The  guilty  woman  now  enters  at  his  summons  and  is  denounced  by  him.  He  orders 
her  to  take  poison,  and  leaves  her.  She  is  about  to  obey,  when  Gioconda,  who  has  been 
concealed  in  the  room,  appears,  takes  the  poison  from  her  and  gives  her  a  narcotic,  which 
will  produce  a  death-like  trance.  Laura  drinks  this  and  Gioconda  exits  just  as  Ahise  appears. 
Seeing  the  empty  phial  on  the  table  he  believes  Laura  has  obeyed  his  will. 

The  second  scene  shows  a  magnificent  hall  in  the  palace,  where  Alvise  is  giving  a 
masked  ball.  The  famous  Dance  of  the  Hours  is  given  for  the  entertainment  of  the  guests. 

*  Doulle-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  LA  GIOCONDA  RECORDS,  page  161. 

159 


VICTOR      BOOK      OF      THE      OPERA  —  LA      GIOCONDA 


Dance  of  the  Hours 

By  Victor  Herbert's  Orch.          70O70     12-inch,  $1.25 

By  Victor  Orchestra  *35087     12-inch,     1.25 

By  Victor  Orchestra  31443     12-inch,     l.OO 

By  Wm.  H.  Reitz   (Xylophone)     *17147      10-inch,       .75 

This  is  one  of  the  most  beautiful  of  ballets  and  symbolizes, 

like  many  other  modern  Italian  ballets,  the  struggle  between  the 

conflicting  powers  of  light  and  darkness,  progress  and  ignorance. 

The  music  is  fascinating  in  the  extreme,  and  is  one  of  the  most 

popular  parts  of  the  opera. 

Enzo  is  present  among  the  maskers,  and  when  Barnaba  •whis- 
pers in  his  ear  that  Laura  is  dead,  he  unmasks  and  denounces  Alvise, 
who  causes  his  arrest.  The  great  finale  begins  with  Enzo 's  solo : 

Gia  ti  vedo  (I  Behold  Thee) 

By  Lotti,  de  Gregorio,  Badini  and  Chorus 

(In  Italian)     *55O19      12-inch,  $1.50 

The  emotions  of  the  various  characters  may  be  understood 
by  the  quotations  below. 

ENZO    (aside) : 

I  behold  thee  motionless,   pallid, 
Shrouded   in   thy   snowy   veil! 
Thou  art  dead,   love!   thou  art  dead,   love! 
Ah,   my   darling,    hopeless   I   wail. 
The  sharp  axe  for  me  is  waiting, 
Opens  wide  a  dark  abyss; 
But  to  thee  shall   torture  guide  me, 
Soon  we'll  share  celestial  bliss! 
GIOCONDA: 

Sadly   fall   the   tear-drops, 
In   the    silence   of   despair;         • 
Break,   oh  heart!   sad  eyes,   rain  torrents! 
Fate,   thy    sharpest   doom   prepare ! 
BARNABA   (aside  to  Gioconda) : 
Yield  thee,  yield  thee!   all  around  thee 
See  what  pqw'r  I  have  for  ill! 
GIOCONDA    (aside  to  Barnaba) : 


rr  MISHKIN 

ANCONA    AS 


Do  thou  save  hi 


safe  out  there, 


Close  by  the   Redentor,   and  then 
Myself  I   will   surrender 
To  thee,   fearfulest  of  men. 
BARNABA    (to   Gioconda)  : 

Though   despair   may   prompt  thy   offer, 
I  accept  it  for  my  part, 
And  the  bitterest  fate  will  welcome, 
Once  to  press  thee  to  this  heart. 


LA  CIECA: 

Thou  art  weeping,  O  Gioconda, 

Let  me  fold  thee  to  my  breast. 

Never   love,   like   love   maternal, 

Can   encounter  every  test. 
ALVISE: 

'Mid   the   splendor   this   fete   surrounding, 

Thou  art  unwelcome,  cavalier; 

But,  ere  long,  new  scenes  of  horror 

Shall  from  thee  attention  claim. 

Thou  shalt  soon  see  if  I  am  watchful 

Of  the  honor  of  my  name! 

To  complete  his  revenge, 
Aloise  now  draws  aside  a  cur- 
tain and  shows  the  guests  the 
body  of  Laura,  acknowledging 
that  he  took  her  life.  Horror 
and  indignation  are  expressed 
by  those  present,  and  Enzo 
attempts  to  kill  Aloise.  He 
fails,  is  seized  by  the  guards, 
and  is  led  away  to  prison  as 
the  curtain  falls. 

ACT  IV 

SCENE — A  ruined  palace  on  an 
island  in  the  Adriatic.  Venice 
visible  in  the  distance 

To  this  desolate  island 
Gioconda  has  managed  to  bring 
the  unconscious  Laura,  in  an 
endeavor  to  save  her.  As  the 


*  Double-FaceJ  Record—  For  title  of  opposite  ,ide  see  DOUBLE-FACED  LA  GIOCONDA  RECORDS  page  1 61. 


VICTOR     BOOK     OF     THE      OPERA  — LA     GIOCONDA 


curtain  rises  two  men  are  carrying  the  insensible  form  into  the  ruin.  Gioconda  asks  the  men 
to  seek  out  her  mother,  whom  she  fears  never  to  see  again.  Left  alone,  she  approaches  the 
table,  looks  fixedly  at  a  flask  of  poison,  and  begins  her  terrible  song,  one  of  the  most  dra- 
matic of  the  numbers  in  Ponchielli's  work. 

Suicidio   (Suicide  Only  Remains) 

By  Elda  Cavalieri     (Double-Faced—See  below)  (In  Italian)     55015      12-inch,  $1.5O 

For  a  moment  the  unhappy  girl  is  tempted  to  complete  Altiise's  work  by  giving  the  poison 

to  Laura,  but  banishes   the  temptation  and  throws   herself   down   in  a  passion  of  weeping. 

Gioconda  has  secured  the  release  of  Enzo,  and  has  sent  for  him  to  come  to  the  ruined  palace, 

intending,  with  splendid  generosity,  to  restore  the  lovers  to  each  other. 

Enzo  now  arrives,  thinking  that  he  is  only  to  visit  the  grave  of  Laura,  and  a  bitter  scene 
occurs  between  the  two,  which  is  interrupted  by  the  voice  of  Laura,  who  has  revived  and 
now  calls  feebly.  Enzo  rushes  forward  in  a  transport  of  joy,  while  Gioconda  makes  further 
preparations  for  their  escape.  The  lovers  express  their  gratitude  and  depart,  while  Gioconda 
prepares  for  the  end.  She  is  about  to  swallow  the  poison  •when  Barnaba  appears,  and  in 
terrible  accents  demands  why  she  has  broken  her  word  to  him.  She  pretends  to  yield  to  him. 
GIOCONDA  (at  first  terrified,  recovers  her  cour-  And  ne'er  will  Gioconda  be  false  to  her  oath. 

age,  and  retains  it  to  the  end) :  May     Heaven     in      mercy 

Yes,    I    keep    to    my    compact;    we    both    sw 


withhold     condem- 


Heaven 
nation, 

to  keep  it,  And   pardon   us   both! 

Barnaba  is  overjoyed  and  begins  the  final  duet,  the  most  dramatic  scene   in  the   opera. 


o1  farmi  piu  gaia  (Thou'rt  Mine 

By  A.  Rossi  Murino  and  E.  Badini 
BARNABA: 

Thou'rt   mine   now!    and   swift   from   this   deso- 
late heart, 
Expelled   by    love's    rays,    sombre    shadows    de- 

GIOCONDA   (to  Barnaba,  who  is  approaching  her)  : 
Restrain  awhile  thy  ardent  passion!  I 

Thou  soon  shall  in  splendor  Gioconda  behold! 
For  thee  I  am  braiding  my  clustering  tresses 
With  purple  and  gold! 

With    glittering    jewels,    the    gay    tinsel     worn 

nightly 

By  madcaps  theatrical,  cover'd   I'll   be: 
Now  list  to  the  song  that  this  ardent  young  siren 
Will  sing  unto  thee! 

I  keep  to  my  compact,  no  false  oath  was  mine; 
(Changing  her  tone.) 


Now !) 

(In  Italian) 


55017      12-inch,  $1.5O 


Thou  claimest  Gioconda?     Now  demon  accursed, 

Gioconda  is  thine! 

(She  stabs  herself  to  the  heart  with  the  dagger 

that  she  had  secreted   while   adorning    herself, 

and  falls  dead  at  his  feet.) 
ARNABA   (in   horror)  : 
Ah.  stay  thee!     Tis  a  jest! 
(With  fiendish  joy.) 
Well,  then,   thou   shall  hear  this, 
And  die  ever  damned ! 
(Bending    over    the    corpse    of    Gioconda,    and 

screaming  furiously  into   her  ear.) 

LAST    NIGHT    THY     MOTHER    DID    OFFEND    ME: 
I    HAVE    STRANGLED    HER! 

(Wildly.)     She  hears  me  not! 
(With    a    cry    of    half-choked    rage    he    rushes 
from   the  ruin.      The  curtain  falls.) 


DOUBLE-FACED  AND  MISCELLANEOUS  LA  GIOCONDA  RECORDS 


fFiglia  che  reggi  tremulo  pie  (Daughter,  My  Faltering  Steps) 
By  Murino,  Nunes  and  Badini     (In  Italian) 
I  Vo'  farmi  piu  gaia  (Thou'rt  Mine  Now) 

By  A.  Rossi  Murino,  Soprano:  E.  Badini,  Baritone 
|Gia  ti  vedi  (I  Behold  Thee)  By  F.  Lotti,  Soprano:     } 

de  Gregorio,  Tenor ;  E.  Badini.  Baritone     ( In  Italian)  [55O19 
I  Si !  morir  ella  de' !  By  Amleto  Galli,  Bass     (In  Italian)] 


55O17      12-inch,  $1.5O 


JSuicidio!  (Suicide  Only  Remains) 
\      Mefistofele  —  L'altra  notte 

{Dance  of  the  Hours 
Sweet  Longings      (  Violin-Flute) 
/Opening  Chorus  —  "Feste!  pane!" 
JBarcarola  —  "  Pescator  affonda  1'esca 
(Enzo  Grimaldo 
IFurlana    (Finale,  Act  I 


By  EldaCavalieri),, 

By  Elda  Caoalierif55015 
By  Victor  Orchestral ,ftrkQT 
By  Rattay  and  Lyons (35° 

La  Scala  Chorus}  4  ftn.  n 
ByE.Badinif45010 
By  Conti  and  Badini     (In  Italian)^ 
By  Orchestra  Sinfonicaf' 


/CieloeMar!  By  Franco  de  Gregorio     (In  Italian)  \  4.5027 

\      Manon  Lescaut  —  Ah,  Manon  !  mi  tradisce     By  de  Gregorio     (  Italian)  | 
/Dance  of  the  Hours     (Xylophone)  By  Wm.  H.  Reitz\.  _.  ,_. 

\     Maurice  Tango     (Banjo)  By  Fred  Van  EpsJ 

161 


12-inch,  1.50 

12-inch,  1.5O 

12-inch,  1.25 

10-inch,  l.OO 

10-inch.  1.00 

lO-inch.  l.OO 

lO-inch,  .75 


GOTTERDAMMERUNG 

(  Goet-ter-dahm' -mer-ung) 
(English) 

THE  DUSK  OF  THE  GODS 

MUSIC  DRAMA  IN  THREE  ACTS  AND  A  PRELUDE 

Words  and  music  by  Richard  Wagner.  First  produced  at  Bayreuth,  August  17,  1876, 
with  Materna  and  Unger.  First  American  production  at  New  York,  January  25,  1888,  with 
Lehmann,  Seidl-Krauss,  Traubman,  Niemann  and  Fischer. 


SIEGFRIED 

GUNTHER   (Goon'-ter)      

HAGEN  (Hati-gen)  

BRUNNHILDE 

GUTRUNE    (Goot-troon  -eh)     

WOGLINDA,     | 

WELLGUNDA,  Rhine-Nymphs 
FLOSSHILDE,  J 


Characters 


. . .Tenor 

Bass 

Bass 

. Soprano 
.Soprano 
I  Soprano 
|  Soprano 
[Contralto 


PRELUDE 

SCENE—  The  Walkure's  Rock 

The  Dusk  of  the  Gods,  the  last  part  of  the  tetralogy,  consists  of  three  acts  and  a  prelude. 
In  the  prelude  we  once  more  see  Briirmhilde  on  the  rock,  where  she  had  lain  during  her 
magic  sleep,  and  where  Siegfried  had  found  her  and  taken  her  as  his  bride.  The  hero,  after 
a  brief  period  of  domestic  happiness  in  a  cave  near  by,  decides  to  leave  his  bride  for  awhile 
and  go  in  search  of  adventures,  giving  her  the  Nibelung's  Ring  as  a  pledge  of  faith.  This 
ring  he  had  obtained  when  he  slew  the  dragon  Fafner,  and  as  the  opera  progresses  it  will 
be  seen  that  he  is  doomed  to  suffer  the  consequences  of  the  fatal  curse,  invoked  on.  every 
possessor  of  the  Ring  by  Alberich,  from  whom  it  was  forcibly  taken  by  Wqlan.. 


VICTOR  BOOK  OF  THE  OPERA— THE  DUSK  OF  THE  GODS 


PROLOGUE 

As  the  curtain  rises  Brunnhilde  and  Siegfried  come  out  -of  the  cave, 
Siegfried  in  full  armor  and  the  Valkyrie  leading  her  horse  by  the 
bridle.  She  begins  her  tender  address  of  farewell : 

Zu  neuen  Thaten  (Did  I  Not  Send  Thee?) 

By  Johanna  Gadski 

In  German      87098      10-inch,  $2.OO 

Did  I  not  send  thee,  sweetest  hero,  to  fresh  exploits,  frail  were  my  love. 
But    one    misgiving    fights   against    it,    for    fear    not    wholly    thy    heart    I 

hold. 
I    gave    to    thee    all    that    gods    had   taught:    heavenly    runes,    the    richest 

hoard;    but   my   restoreless   maidenhood's   strength    snatch'd   thou   from 

me,    who   but   seek   to    serve    thee. 
My   wisdom    fails,    but    good   will    remains;    so    full    of    love,    but    failing 

in    strength,    thou    wilt    despise    perchance    the    poor    one,    who    having 

giv'n  all,  can  grant  thee  no  more! 

This  lovely  air  is  delivered  by  Mme.  Gadski  with  tenderness  and 
feeling,  and  the  record  is  an  unusually  fine  example  of  the  perfect 
recording  of  a  beautiful  soprano  voice. 

ACT  I 

SCENE—  Castle  of  King  Gunther 

Siegfried  joyously  sets  out  on  his  journey  and  soon  comes  to  the 
Court  of  King  Gunther  on  the  Rhine,  where  dwells  also  Gunther's  sister 
Gutrune,  and  their  half-brother  Hagen,  who  is  a  son  of  Alberich,  the 
dwarf.  Hagen  knows  the  history  of  the  Ring  and  is  anxious  to  re- 
store it  to  his  father,  so  he  artfully  tries  to  win  the  help  of  Gunther. 
Knowing  that  the  hero  is  approaching  the  castle,  he  outlines  this 

scheme,  which  is  to  give  Siegfried  a  drink  which  will  make  him  forget  Brunnhilde  a'nd  fall 
in  love  with  Gutrune,  after  which  Gunther  can  win  the  peerless  Brunnhilde  for  himself. 
Gunther  is  tempted,  and  when  Siegfried's  horn  announces  his  approach  he  consents. 

Siegfried  greets  them  as  friends,  and  when  offered  the  magic  drink  he  accepts  and 
immediately  loses  all  recollection  of  Brunnhilde.  Seeing  the  lovely  Gutrune,  who  stands  with 
lowered  eyes,  he  exclaims  : 


Gutr 


with    a    kindlinc 


SIEGFRIED    (ga=\ 

eye) : 

Thou   fair   one,   whose  beams 
My  breast  have   enflamed, 
Why  fall  thus  thine  eyes  before  mine? 
(Gutrune  looks  up  at  him,   blushing.) 
Ha!   sweetest   maid! 
Screen    those   bright   beams! 
The  heart  in  my  breast 
Burns    with    their    strength. 

Gutrune,  trembling  with  emotion,  leaves  the 
Hall,  and  Siegfried,  gazing  after  her,  asks  Gunther 
if  he  has  a  wife.  The  King,  prompted  by  Hagen, 
replies  that  he  knows  of  one  he  would  wed,  but 
that  she  is  surrounded  by  a  magic  fire  which  he 
cannot  pass.  Siegfried  seems  trying  to  remember 
his  past,  but  fails,  looks  confused,  then  suddenly 
says: 

SIEGFRIED   (with  a  sudden  start)  : 

I — fear  not  the   fire. 

And  thy  bride   fain   will   I   fetch; 

For  thy  own  am   1 

And  mv  arm  is  thine: 

If  Gutfune  for  wife  I  may  gain! 

In  order  that  Brunnhilde  may  think  that  it  is 
Gunther  who  has  won  her,  it  is  agreed  that 

Siegfried  shall,  by  means  of   the   Tarnhelm,  change   himself   into   Gunther's  form.     Thinking 
only  of  his  reward,  Siegfried  eagerly  departs. 


HAGEN AC! 


VICTOR    BOOK    OF    THE    OPERA— THE     DUSK    OF     THE     GODS 


Hier  sitz'  ich  zur  wacht 

By  Marcel  Journet,  Bass  , ,      , 

Hagen,   left  alone,  outlines  his  coming  triumph,  when  he  shall  possess  the  Ring,  and 
avenge  its  theft  from  his  father,  Alberich. 


(Here  I  Wait) 

(In  German) 


74276      12-inch,  $1.5O 


Here  I  sit  and  wait,  watching  the  hall, 
Warding  the  house  from  all  foes. 
Gibich's  son  is  wafted  by  winds; 
A-wooing  forth  is  he  gone. 
And  fleetly  steereth  a  stalwart  man, 
Whose  force  all  perils  can  stem. 


His  own  the  bride  he  brings  down  the  Rh 

But  he  will  bring  me  the   Ring. 

Ye  gallant  partners,   gleeful   companions, 

Push  ye  then  merrily  hence! 

Slight  though  your  natures, 

Ye  still   may  serve  the  Nibelung's  son ! 


SCENE  II— The  Walkure's  Rock 

The  scene  changes  to  the  Valkyrie  Rock  again,  where 
Briinnhilde  awaits  Siegfried's  return.  She  is  astonished  and 
alarmed  when  she  sees  a  stranger  approaching,  not  understanding 
how  he  has  penetrated  through  the  fiery  barrier.  It  is  Siegfried 
in  the  form  of  Gunther.  He  announces  that  he  is  Gunther  come 
to  win  her  for  his  wife.  Briinnhilde,  in  horror  and  despair,  holds 
up  the  Ring,  exclaiming : 

BRUNNHILDE: 

Stand  back!  bow  to  this  token! 
No  shame  can  touch  me   from  thee 
While  yet  this  Ring  is  my  shield. 

Siegfried  attempts  to  take  it  from  her  and  after  a  struggle, 
succeeds.  As  he  draws  the  helpless  and  despairing  Briinnhilde 
into  the  cave  the  curtain  falls. 

ACT  II 

SCENE—  The  Rhine  near  Gunther' s  Castle 

Hagen  and  Alberich  discuss  the  progress  of  the  plot  to  regain 
the  Ring.  Hagen  swears  to  accomplish  it,  and  Alberich  vanishes. 
Siegfried,  in  his  own  form,  but  wearing  the  Tarnhelm,  arrives, 
greets  him  cheerily  and  says  he  has  gained  Gunther 's  wife  for 
him,  but  that  they  are  returning  home  more  slowly.  Gutrune 
comes  to  meet  Siegfried,  and  they  go  to  the  Hall.  Hagen  sounds  his  horn  tc 
vassals  and  bids  them  prepare  for  a  feast,  as  Gunther  has  taken  a  bride. 

Gunther  now  arrives  in  his  boat,  leading  Briinnhilde,  who  is  pale  and  downcast.  Siegfried 
and  Gutrune  come  out  to  meet  them  and  Briinnhilde  sees  Siegfried  in  his  rightful  form.  She 
recoils  in  horror  at  seeing  him  with  another  woman,  and  regarding  her  as  a  stranger.  She 
then  perceives  the  Ring  on  Siegfried's  finger  and  demands  to  know  where  he  obtained  it. 
He  seems  confused  and  regards  the  Ring  with  a  puzzled  air.  Briinnhilde,  beginning  to 
comprehend  what  has  occurred,  denounces  him,  and  Gunther,  beginning  to  doubt  whether 
Siegfried  had  kept  his  oath  to  respect  Briinnhilde  as  a  brother's  bride,  looks  threateningly  at 
him.  Siegfried,  eager  to  set  himself  right,  swears  the  oath  of  the  spear. 

The  vassals  make  a  ring  round  Siegfried  and  Hagen.  Hagen  holds  out  his  spear;  Siegfried 
lays  two  fingers  of  his  right  hand  on  its  point. 


jn  th< 


SIEGFRIED: 

Haft  of  war,   hallowed   weapon! 

Hold   thou   my   oath   from   dishonor! 

On   this   spotless   spear-head 

I   speak  the  oath : 

Spear-point,   aid   thou   my   speech ! 


Where  steel  e'er  can  strike  me, 

Strike  thou   at   me: 

Wher'er  death  can  be  dealt  me 

Deal   it  to  me, 

Tf  she  is  really  wronged, — 

If   I   have   injured   my   friend! 


Briinnhilde,  unable  to  contain  herself  at  this  evidence  of  Siegfried's  baseness,  repeats  his 
oath  and  denounces  him. 

HelleWehr!  Heilige  Waffe  !  (Haft  of  War!  Hallowed  Weapon) 

By  Johanna  Gadski,  Soprano  (In  German)     87052      lO-inch,     $2.0O 

Siegfried  looks  at   her   in   pity,  thinking  her   mad,   and    goes  to   the  Hall   with    Gutrune. 

Briinnhilde,  Hagen   and    Gunther  remain   behind,  the   latter   in    deep   depression.     Hagen   tells 


VICTOR    BOOK     OF     THE     OPERA— THE     DUSK    OF     THE     GODS 

Briinnhilde  that  he  will  avenge  her  wrongs.  "  Thou  ?  "  says  Briinnhilde,  contemptuously,  and 
tells  him  that  only  in  his  back  is  Siegfried  vulnerable,  and  that  no  magic  protection  was 
placed  there  because  she  knew  that  never  would  he  retreat.  Gunther  now  rouses  himself 
and  the  three  decide  that  Siegfried  must  die  for  his  treachery. 

ACT  III 

SCENE  I— A  Wild  Valley  near  the  Rhine 

The  Rhine  nymphs  rise  to  the  sur- 
face of  the  water  and  sing  of  the  Rhine- 
gold.  They  spy  Siegfried  and  ask  him 
to  give  up  the  Ring,  but  he  refuses,  and 
they  warn  him  that  he  shall  die  that 
very  day.  He  laughs  at  the  prophecy, 
and  as  he  watches  them  swim  away, 
says  lightly: 

SIEGFRIED: 

Alike    on   land   and   water. 
Woman's   ways    I've   learnt   to   know. 
The  man   who   resists  their  smiles 
They   seek  by  threats  to  frighten. 
And   when   these   both   are   scorned 
They   bait    him    with   bitter   words. 
And  yet   were   Gutrune  not  my   wife, 
I   must   have   promptly   captured 
One   of  those   pretty  maids! 

Hunting  horns  are  heard  and 
Siegfried  gayly  answers  with  his  own. 
Gunther,  Hagen  and  the  hunters  descend 
from  the  hill  and  greet  him.  They  camp 
and  begin  to  eat  and  drink.  Siegfried 
tells  them  of  his  adventure  with  Mime 
and  the  Dragon.  Hagen  gives  him  a 
magic  drink  which  brings  back  his 
memory  and  he  goes  on  to  tell  of  the 
forest  bird  and  his  quest  of  the  lovely 
Briinnhilde.  Gunther  begins  to  listen  at- 
tentively, but  when  Siegfried  reaches 
this  part  of  his  narrative,  Hagen  plunges 

his  spear  in  Siegfried's  back  and  he  falls.      Gunther,  in  pity  for  the  dying  man,  leans  over 

him,  and  Siegfried  faintly  says  : 


THE    RHINE     MAIDENS    WAI 


SIEGFRIED: 

Briinnhilde!      Heavenly   bride! — 

Look   up!      Open   thine   eyelids! 

What   hath   sunk  thee   once  more   in  sleep? 

Who   drowns   thee   in   slumber   so   drear? 

The   wak'ner   came,    his  kiss   awoke: — 

Again  now  the  bride's  bonds  he  has  broken ; — 


Enchant   him    Briinnhilde's   charms! 

Ah!    now   forever   open   her  eyelids! 

Ah!   and   what  od'rous  breeze   is  her  breath! 

Thrice   blessed  ending — 

Thrill   that   dismays   not — 

Briinnhilde  beckons  to  me!      (He  dies.) 


SCENE  II— Hall  in  Gunther 's  Palace 

Siegfried's  body  is  borne  mournfully  to  the  Hall,  where  the  weeping  Gutrune  meets  them 
and  clasps  her  husband's  lifeless  form.  Hagen  now  demands  the  Ring  as  his  booty,  but 
Qunther  refuses  to  yield  it  and  they  draw  their  swords,  Qunther  being  killed  by  Hagen. 

Hagen  now  attempts  to  withdraw  the  Ring  from  Siegfried's  finger,  but  as  he  approaches, 
the  arm  of  the  dead  hero  is  raised  threateningly,  and  all  recoil  in  terror. 

Briinnhilde  now  approaches  and  gazes  long  and  sadly  at  Siegfried's  face,  then  orders  a 
funeral  pyre  erected  to  burn  the  hero's  body.  The  vassals  obey  and  build  a  huge  pyre  on 
the  bank  of  the  Rhine,  on  which  the  body  is  laid.  Briinnhilde  summons  two  ravens  from 
the  rocks,  and  begins  her  great  Immolation  Scene. 


Fliegt  heim    (Immolation  Scene) 

By  Johanna  Gadski,  Soprano 


(In  German)      88185      12-inch,  $3.OO 


VICTOR    BOOK    OF     THE     OPERA— THE     DUSK     OF     THE     GODS 


She  bids  the  ravens  fly 
to  Loki,  god  of  fire,  that  he 
may  complete  the  downfall 
of  the  gods  by  burning 
Valhalla. 


BRL  NNHILDE: 

Draweth  near  in  gloom 
The  Dusk  of  the  gods. 
Thus,  casting  my  torch, 
I  kindle  Valhalla's  tow'rs! 


She  kindles  the  pile, 
which  burns  rapidly,  and 
the  two  ravens  disappear  in 
the  distance.  Briinnhilde  's 
horse  is  brought  in,  and  she 
takes  off  the  bridle. 


BRUNNHILDE   (to  the  horse) : 

Grani,   my  horse,   greet  thee  again '. 

Wouldst  thou   know  dear  friend, 

What  journey  we  follow? 

By   flame   illumined  lies  there   thy  lord, 

Siegfried,   the  star  of  my  life. 

To   meet    with    thy   master    neighest   thou 

merrily? 

Lo!    how   the   flame 
Doth  leap  and  allure  thee! 


SETTING     OF     ACT     II     AT 


Feel  how  my  breast  too  hotly  doth  bun 

Sparkling   fureflame   my    spirit    enfolds. 

O,   but  to  clasp  him — 

Recline    in    his   arms! 

In   madd'ning   emotion 

Once  more   to   be   his! 

Heiajaho!   Grano!   Greet  we  our  hero! 

Siegfried!    Siegfried!    see! 

Sweetly   greets   thee   thy   wife! 


She  swings  herself  on  the  steed  and  rides  straight  into  the  burning  pile,  which  flames 
up  mightily,  half  consuming  the  Hall  itself.  The  Rhine  then  rises  and  puts  out  the  flames, 
and  on  the  surface  are  seen  the  Rhine  daughters,  who  seize  the  Ring  from  the  embers. 
Hagen,  who  has  been  anxiously  watching,  now  rushes  into  the  waters,  crying :  "  The  Ring  is 
mine ! "  The  nymphs  seize  him  and  drag  him  down  in  the  flood.  An  increasing  red  glow 
is  seen  in  the  sky,  and  Valhalla  appears  in  flames,  with  the  gods  and  heroes  calmly  await- 
ing their  doom.  As  the  flames  envelop  all,  the  curtain  falls. 


DOUBLE-FACED  GOTTERDAMMERUNG  RECORDS 


/Fantasia  from  the  Opera 

\     Rhinegold  Selection     ( Wagner) 


By  Arthur  Pry  or's  Band\--_1(. 
By  Conway's  Bandf35315 


.     ,      ..  _- 
-inch-  *1'25 


THE    RHINE    MAIDENS    RECOVER    THE    RHINEGOLD 

166 


GRISELIDIS 

OPERATIC  MIRACLE  PLAY  IN  THREE  ACTS  AND  A  PROLOGUE 

Poem  by  Armand  Sylvester  and  Eugene  Morand.  Music  by  Massenet.  First  pro- 
duction, Opera  Comique,  Paris,  November  20,  1901,  with  Mme.  Lucienne  Breval.  First 
production  in  America  at  the  Manhattan  Opera  House,  New  York,  January  19,  1910. 


Characters 


GRISELIDIS,  wife  of  the  Marquis 
FIAMINA,  the  Devil's  wife 

BERTRADE 

THE  MARQUIS  DE  SALUCES  . . 

ALAIN,    a    shepherd 

THE  DEVIL 

THE  PRIOR 

GONDEBAUD  . . 


. Soprano 
. Soprano 
. Soprano 
.  Baritone 
.  .Tenor 
.  Baritone 
.  Baritone 
.  Baritone 


Scene  and  Period :   Provence,  France  ;   the  thirteenth  centv 


Griselidis  is  based  on  a  modern  "  mystery "  which  was  produced  by  Armand  Sylvester 
and  Eugene  Morand  at  the  Comedie  Francois  in  1891.  In  this  play  the  author  gave  a  much 
changed  version  of  a  legend,  Patient  Grisel,  which  has  had  a  place  in  European  literature 
since  the  eleventh  century.  It  is  one  of  the  stories  that  Boccaccio  tells  in  his  Decameron,  and 
the  same  tale  has  been  used  by  Chaucer  in  his  Canterbury  Tales. 

The  plot  of  Griselidis  is  quite  refreshing  in  contrast  to  most  grand  opera  plots,  its 
principal  theme  being  true  love  and  faithfulness.  The  opera  opens  with  a  Prologue,  occur- 
ring in  the  forest  of  Provence.  The  Marquis  de  Saluces,  lord  of  the  region,  while  walking 
along  the  forest  edge,  meets  the  young  and  beautiful  Griselidis.  He  falls  deeply  in  love 
with  her  and  asks  her  to  be  his  wife,  whereupon  she  replies  that  she  is  his  slave  and  must 
obey  his  will.  Together  they  depart  for  the  chateau  of  the  Marquis,  leaving  the  poor 
shepherd,  Alain,  who  is  also  in  love  with  Griselidis,  bewailing  the  fate  which  has  robbed 
him  of  his  sweetheart. 

167 


VICTOR        BOOK        OF        THE        O  P  E  R  A  —  G  R  I  S  E  L  I  D  I  S 


A  year  elapses,  and  in  Act  I  we  see  the  Marquis  about  to  depart  for  the  war  against  the 
Saracens.  The  scene  shows  the  inside  of  the  Chateau ;  in  the  background  a  triptych  open, 
with  an  image  of  St.  Agnes  holding  in  her  arms  a  white  lamb,  and  at  her  feet  an  image  of 
the  Deoil.  The  Marquis  expresses  his  great  love  for  his  wife,  and  says  that  he  would  be 
willing  to  swear  in  the  presence  of  the  Deoil  himself  that  she  would  always  be  faithful  and 
true.  Suddenly  the  stone  image  of  the  Deoil  comes  to  life,  bounds  on  the  stage  and  offers 
to  wager  the  Marquis  that  during  his  absence  at  the  wars  Griselidis  will  break  her  vows  of 
faithfulness.  At  first  the  Marquis  spurns  the  wager,  but  finally  accepts  and  gives  the  Deoil 
his  wedding  ring  to  show  his  absolute  trust  in  Griselidis.  The  latter  is  left  alone  with  her 
little  son,  Lous,  as  her  husband  departs  for  the  war. 

Act  II  shows  the  terrace 
of  the  Castle.  The  Deoil  in- 
duces his  wife,  Fiamina,  to 
join  him  in  his  wicked  plans 
to  tempt  Griselidis,  and  they 
appear  at  the  Castle  dis- 
guised as  a  Levantine  mer- 
chant and  a  Moorish  slave. 
The  merchant  (Devil)  tells 
Griselidis  that  her  husband 
bought  the  slave  from  him 
in  the  Orient,  being  greatly 
attracted  by  her  charms,  and 
tells  her  that  her  husband 
commands  that  the  slave  be 
installed  as  mistress  of  the 
Chateau.  As  proof  of  the 
truth  of  his  statement  he 
shows  Griselidis  the  Marquis' 
•wedding  ring,  and  she  sub- 
missively declares  that  she 
•will  obey  her  husband's  or- 
ders. This  acquiescence  is 
contrary  to  the  Devil's  ex- 
pectations, and  in  consterna- 
tion he  now  has  his  Eoii 
Spirits  bring  Alain  to  the 
Castle,  hoping  to  tempt 

Griselidis  to  fly  with  the  shepherd,  •who  still  loves  her ;  but  little  Lays  appears  just  in  time  to 
save  his  mother  •when  her  resistance  is  weakening.  As  Alain  rushes  away,  in  despair,  the 
Devil  suddenly  appears,  seizes  Lous  and  disappears,  and  the  act  ends  •with  a  -wild  search  for 
the  child. 

The  third  act  shows  the  interior  of  the  Chateau  with  the  triptych  as  in  Act  I.  The  Deoil 
again  appears  to  Griselidis,  this  time  disguised  as  an  old  man.  He  tells  her  that  Lous  has 
been  kidnapped  by  a  pirate,  who  demands  a  kiss  from  Griselidis  in  return  for  surrendering 
her  child.  Mother  love  forces  her  to  yield,  and  she  starts  for  the  harbor.  The  Marquis 
comes  home  from  the  •wars  and  the  Deoil  tells  him  Griselidis  has  gone  to  keep  a  rendezvous 
with  her  lover,  but  the  Marquis  refuses  to  believe  these  accusations  against  his  •wife. 
Griselidis  returns  and  tells  the  Marquis  of  the  kidnapping  of  little  Lous,  and  they  pray  that 
help  may  be  given  them  to  fight  the  powers  of  evil.  Whereupon  the  cross  on  the  altar 
is  turned  into  a  flaming  sword,  and  when  Griselidis  prays  to  St.  Agnes  that  her  son  be 
restored  to  her,  there  is  a  flash  of  lightning,  a  clap  of  thunder  and  the  triptych  opens, 
revealing  the  image  of  St.  Agnes  holding  in  her  arms,  not  the  white  lamb,  but  the  child 
Lays.  A  glad  pealing  of  bells  can  be  heard  as  the  Marquis  and  Griselidis,  with  their  child 
between  them,  are  happily  reunited. 

The  Victor  offers  here  a  very  fine  record  of  the  air  Ouores-oous  sur  man  front,  -which 
occurs  at  the  beginning  of  the  opera.  It  is  the  song  of  the  shepherd  Alain,  telling  of  his 
love  for  the  maiden,  Grise'lidis. 

Ouvres-vous  sur  mon  front,  portes  du  Paradise  !     (Open 
Now  to  My  Eyes,  Portals  of  Paradise  !) 

By  Charles  Dalmores,  Tenor  (In  French)      88397       12-inch,      $3.OO 


DIABLE  AND   FIAMINA ACT   II 


HAMLET 

OPERA  IN  FIVE  ACTS 

Book  by  Barbier  and  Carr6,  based  on  Shakespeare's  play.      Music  by  Ambroise  Thomas. 
First  production  March  9,  1868,  at  the  Paris  Academic.     First  London  production  June  19,  1869. 


Cast 


.  Baritone 


HAMLET 

CLAUDIUS,  King  of  Denmark Bass 

LAERTES,  Polonius'  son Tenor 

Ghost  of  the  dead  King Bass 

POLONIUS,  Chancellor Bass 

GERTRUDE,  Hamlet's  mother,  Queen  of  Denmark Mezzo-Soprano 

OPHELIA,  daughter  of  Polonius Soprano 

Lords,  Ladies,  Officers,  Pages,  Peasants,  etc. 


Scene  :     Elsinore,  in  Denmark. 

The  story  of  Hamlet,  Prince  of  Denmark,  is  so  well  known  that  it  would  seem  hardly 
necessary  to  describe  the  plot  at  any  length.  However,  for  operatic  purposes  the  librettists 
•were  obliged  to  modify  and  reconstruct  certain  portions  of  the  tragedy,  and  the  revised  ver- 
sion \vill  be  briefly  sketched  here. 

The  present  King  of  Denmark,  Claudius,  has  seized  the  throne,  after  having  murdered 
the  late  King,  Hamlet's  father.  At  the  opening  of  the  opera  Hamlet  knows  nothing  of  the 
murder,  but  is  highly  incensed  at  his  mother  for  having  married  Claudius  before  she  had 
been  two  months  a  widow. 

ACT  I 

SCENE  I — A  Room  of  State  in  the  Palace 

The  new  Queen  is  being  presented  to  the  Court  at  a  public  reception.  She  is  annoyed 
because  Hamlet  shows  his  displeasure  by  absenting  himself  from  the  ceremony.  After  the 
presentation  is  over,  Hamlet  enters  slowly,  in  a  melancholy  mood. 

HAMLET:  Ah!  vain  indeed  is  grief! 

Affection,  too,   doth  seem  short  lived  indeed. 

My  much-loved  father  but  two  months  dead; 

And   yet,   unto   another   wedlock,  my  mother  hath  consented; 

"Frailty,  thy  name  is  woman." 

His  bitter  musing  is  interrupted  by  the  entrance  of  Ophelia,  his  betrothed.  She  has  heard 
that  Hamlet  intends  to  leave  the  kingdom  and  asks  if  he  has  ceased  to  love  her.  In  the  beautiful 
love  duet  he  reassures  her,  and  tells  her  why  the  palace  has  become  intolerable  to  him. 


VICTOR     BOOK     OF     THE     O  P  E  R  A— T  H  O  M  A  S  '      HAMLET 


Nega  se  puoi  la  luce    (Love  Duet) 

By  Maria  Galvany,  Soprano,  and  Titta 

Ruffo,  Baritone         (In  Italian)     9250O      12-inch,  $4-OO 

HAMLET: 

Celestial   maiden,   'tis  not  thee  I   chide, 

The    purity    of    thy    mind    doth    speak    through 
those   sweet  eyes! 

"Doubt  that  the  stars  are  fire, 

Doubt  that  the  sun  doth  move, 

Doubt  truth  to  be  a  liar; 

But  never  doubt  my  love." 
OPHELIA: 

It  may  be  so,  but  such  excess  of  love 

Hath   no   enduring  power; 

Thou  couldst  not  leave  me  to  my  sorrow, 

Did  thy   heart  know  such  love  as  mine! 

Ye   heavenly  powers,  —  celestial  choir, 

That  aye  surround  the  eternal  throne, 

From  your  bright  homes  above, 

Bear   witness   to   my  truthful   love. 
HAMLET: 

Beloved  Ophelia! 
OPHELIA: 

In  thee  this  heart  doth  trust! 
HAMLET: 

My  heart  doth  beat  for  thee  alone! 
OPHELIA: 

Ah!   never  will  we  part! 

SCENE  II—  Esplanade  of  the  Palace.     It  is  Night 
Horatio    and    Marcellus  are  discovered    excitedly  discussing    the 
appearance  of  the  spectre  of  the  murdered  King.     They  greet  Hamlet 
and  tell   him   of    the    ghostly   visitor,    which    appeared   just    at    mid- 
night.    Hamlet  is   much   affected,   and    suggests   that  as   it   is   nearly 
twelve  the  ghost  may  come  again. 

The  clock  strikes,  and  the  figure  of  the  murdered  King  appears.     Hamlet  speaks  to  the 
spectre  : 


HAMLET: 

Thou   spirit  dread,   thou   shade   rever 
Hear  thou  thy  hapless  son's  lament. 
In   pity  answer,  —  speak  to   me! 
Tell    me    why   the   sepulchre, 

The  ghost  motions  Horatio  and 
Marcellus  to  withdraw,  and  when  they 
are  gone  he  tells  Hamlet  of  the  murder 
and  bids  him  become  the  avenger,  but 
asks  him  to  leave  his  mother's  pun- 
ishment to  God.  Hamlet  is  much 
affected  and  exclaims  : 
HAMLET: 

Yes!       Shade     revered!       Thy     bidding 
shall  be  done. 

O  light,   O  sun,   O  glory,   O  love  to  me 
so   dear, 

Farewell!    Farewell! 

The  ghost,  before  disappearing, 
pauses  at  the  back  of  the  stage,  and 
stands  with  one  hand  extended  toward 
Hamlet;  at  this  moment  Horatio  and 
Marcellus  re-enter,  and  appear  terror- 
stricken  at  the  spectacle  before  them. 
Trumpets  and  joyous  music  are  heard 
without  as  the  curtain  falls. 

ACT  II 

SCENE  —  Garden  of  the  Palace 
Ophelia   enters  and    is  much  dis- 
turbed because  Hamlet  seems  to  avoid 


Wherein  we  saw  thee  peacefully  entombed, 
Hath  op'd  his  ponderous  and  marble  jaws, 
To  cast  thee  forth  again? 


VICTOR     BOOK      OF      THE     O  P  E  R  A— T  H  O  M  A  S  '      HAMLET 


her.     The  Queen  finds  her  weeping,  and  after  questioning   her  says  that   Hamlet    has   also 
acted  strangely  toward  his  mother  and  fears  his  reason  is  affected. 

Hamlet,  seeking  to  entrap  the  King  in  some  manner  into  betraying  himself,  has  engaged 
a  troupe  of  players  to  present  a  play  which  shall  enact  a  similar  crime.  The  King  and 
Queen  are  delighted  that  he  seems  to  seek  amusement,  and  gladly  accept  his  invitation  to 
witness  the  play. 


THE    KING   RE 


\7hen  the  royal  pair  have  departed,  the  players  come  on  and  are  instructed  by  Hamlet 
in  the  plot  he  has  conceived.  The  Prince  then  calls  for  wine  and  bids  the  players  be  merry, 
offering  to  sing  them  a  drinking  song. 

O  vin,  discaccia  la  tristezza  (Brindisi)  (W^ine,  This  Gloom  Dispel) 

By  Emilio  de  Gogorza,  Baritone  (In  French)     8818O     12-inch,  $3.0O 

By  Titta  Ruffo,  Baritone,  and  La  Scala  Chorus     (Italian)     92O37     12-inch,     3.OO 
By  Francesco  Cigada,  Baritone,  and  La  Scala  Chorus 

(In  Italian)   *16572      lO-inch,        .75 
ay. 


HAMLET: 

O  wine!   the  gloom  dispel, 

That  o'er  my  heart  now  weighs; 

Come  grant  me  thine  intoxicating  joy; 

The   careless   laugh  —  the  mocking  jest! 

O   wine  !   Thou   potent   sorcerer, 

Grant  thou   oblivion   to  my  heart! 

Yes,   life  is  short,   death's  near  at  hand, 


We'll  laugh  and  drink  while  ye 

Each,   alas,   his  burthen   bears. 

Sad    thoughts    have    all;  —  grim    thoughts    and 

sorrows; 

But  care  avaunt,  let  folly  reign, 
The   only  wise   man   he, 
Who   wisdom's   precepts   ne'er   obeys! 
(The   curtain  falls   on   a  scene   of  merriment.) 


SCENE  II — The  Palace  Hall.      On  one  side  a  stage  has  been  erected 

The  court  assembles  and  the  play  begins,  Hamlet  placing  himself  where  he  can  watch 
the  King  closely.  As  the  action  proceeds  the  guilty  man  shows  unmistakable  evidence  of 
agitation,  and  finally  in  a  rage  he  orders  the  players  away.  Hamlet  rushes  forward  and 
denounces  the  murderer,  but  the  Court  believes  his  accusation  to  be  the  ravings  of  a  mad- 
man, and  all  leave  the  room  as  he  faints  in  Horatio's  arms. 

ACT  III 

SCENE—  The  Queen's  Apartments 
Hamlet  enters  and  sings  his  farewell  soliloquy. 

Monologo  (Soliloquy) 

By  Titta  Ruffo,  Baritone  (In  Italian)     92O42      12-inch.  $3.OO 

This  is  Thomas'  splendid  setting  of  the  well-known  soliloquy  and  one  of  the  most  con- 
spicuous numbers  in  the  opera.  Although  the  librettists  took  many  liberties  with  Shake- 
speare's drama,  they  did  not  venture  to  alter  such  a  well-known  excerpt  as  this.  Ruffo  sings 
this  famous  monologue  in  a  superb  manner,  delivering  it  with  great  dramatic  power. 

^Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  HAMLET  RECORDS,  page  172. 

171 


VICTOR     BOOK     OF     THE      O  P  E  R  A— T  H  O  M  A  S  '      HAMLET 


HAMLET:  To  be,  or  not  to  be,  that  is  the  question. 
To  die,  to  sleep;  perchance  to  dream; 
Ah!   were  it  allowed  me   to   sever 
The   tie  that  binds  me  to  mortality, 
And  seek  "the  undiscovered  country 
From    whose    bourne    no   traveler    returns!" 
"Ay!   to  be,   or  not  to  be? 
To  die,  to  sleep;   perchance  to  dream." 

The  Queen  and  Ophelia  enter  and  plead  with  Hamlet  to 
banish  his  wild  imaginings.  He  sternly  rebukes  them,  advises 
Ophelia  to  retire  to  a  convent,  and  accuses  his  mother  of  being 
an  accomplice.  The  ghost  again  appears,  visible  only  to  Hamlet, 
bids  him  spare  his  mother,  and  slowly  disappears.  The  Prince 
conducts  the  Queen  to  the  door,  urging  her  to  pray  and  repent. 

ACT  IV 

A  rural  scene  near  a  lal^e.      Willows  line  the  shore 
Ophelia,    driven   insane   by   Hamlet's  desertion    of   her,    has 
wandered    to    the    lake.      She  plays  with  a  garland  of  flowers, 
and  sings  her  wonderful  aria,  usually  known  as  the  Mad  Scene, 
one  of  the  most  difficult  of  all  florid  compositions. 

Ballata  d'Ofelia    (Mad  Scene) 

By  Nellie  Melba     (In  French)    88251      12-inch,  $3.OO 
By  Maria  Galvany  (In  Italian)     88235      12-inch,     3.OO 
By  Giuseppina  Huguet  (Italian)  *3S  ISO     12-inch,     1.25 
An    exquisite    introduction    by    the    orchestra    is    heard  as 
Ophelia   enters — a  strange,    wild    figure,   with    flowing   hair   and    PHOTO  ERMII(I 
torn   white    dress.     She  speaks  to  the  wondering  peasants  and  RUFFO  AS  KAMI  ET 

tells  them  childishly  of  the  lark  which  she  heard  at  dawn,  fol- 
lowing with  a  brilliant  display  of  bird-like  trills  and  staccatos. 

Ophelia  then  turns  to  the  shepherds  and  asks  them  to  listen 
to  her  song,  a  strange,  sad  melody,  which  is  interrupted  at 
intervals  by  wild  laughter  and  weeping.  Presently  she  seems 
to  forget,  and  placidly  plays  with  her  flowers,  until  the  magical 
siren's  song  is  heard  luring  her  to  the  water's  edge,  and  she 
plunges  in  and  floats  away,  singing  of  Hamlet 's  vow  of  love. 

Mme.  Melba  fairly  surpasses  herself  in  this  scene,  with  its 
sudden  alternations  of  joy  and  sorrow,  the  pathos  which  over- 
shadows every  phrase. 

Other  fine  renditions,  that  of  Mme.  Galvany  and  a  popular- 
priced  one  by  Mme.  Huguet,  are  also  offered  to  opera-lovers. 

ACT  V—  The  Churchyard 

Hamlet  comes  hither  to  attend  the  funeral  of  Ophelia.  He 
sings  his  beautiful  song  to  her  memory  and  resolves  to  take  his 
own  life  upon  her  grave. 

Come  il  romito  fior    (As  a  Lovely  Flower) 

By  Titta  Ruffo,  Baritone,  and  La  Scala  Chorus 

--"-•  "»""»  (In  Italian)     92O64      12-inch,  $3.0O 

CALVE  AS  OPHELIA  By  Enrico  Pignataro,  Baritone 

(In  Italian)   *63424      10-inch,        .75 

When  the  cortege  has  arrived,  the  ghost  again  appears  and  looks  reproachfully  on  Hamlet, 
who  stabs  the  King,  and  as  the  curtain  falls  the  people,  now  convinced  of  their  monarch's 
guilt,  acclaim  Hamlet  as  his  successor. 


DOUBLE-FACED  HAMLET  RECORDS 

/Ballata  d'Ofelia  (Mad  Scene)     By  Huguet,  Soprano     (Italian)}    5 
\     Dinorah — Si,  carina  caprettina  By  Giuseppina  Huguet,  Soprano) 


/Brindisi  By  Francesco  Cigada  and  Chorus 

\     Ernani — Festa  da  hallo  By  La  Scala  Chorus 

/Come  il  romito  fior  By  Enrico  Pignataro 

\     Pallide  Mammole—Romanza  By  Lavin  de  Casas 

172 


(In  Italian)\.  ,,__ 
(In  Italian) }16572 
(In  Italian) 
(In  Italian) 


12-inch,  $1.25 
lO-inch,        .75 


THE    FOREST ACT 


(German) 

HANSEL  UND  GRETEL 

(Hahn'-xl  oonJt  Gray'-tel) 
(Italian)  (English) 

NINO  E  RITA         HANSEL  AND  GRETEL 

(A/een-jx>  ay  Ree'-tah)  (Han-sel  and  Gray'-tel) 

(or  HANS  AND  GRETCHEN) 
A  FAIRY  OPERA  IN  THREE  ACTS 


It  is  now  some  seventeen  years  since  Humperdinck's  lovely  fairy 

MUSICAL  AME.ICA  opera  was  brought  out  in  America  by  Augustin  Daly,  and   it  has 

HUMPERDINCK  since  been  firmly  established  in  the  repertoire  of  every  producer  of 

grand  opera. 

Hansel  and  Gretel  has  been  called  the  Peter  Pan  of  grand  opera ;  the  audiences 
who  witness  it  being  invariably  delighted  -with  the  childish  joyousness  and  fairy  charm  of 
Humperdinck's  work. 

173 


Text  by  Adelheid  Wette.  Music  by  Engelbert  Humperdinck. 
First  produced  1893,  at  Weimar.  First  American  performance  at 
the  Metropolitan  Opera  House,  New  York,  1895. 

Cast 

PETER,  a  broom-maker Baritone 

GERTRUDE,  his   wife Mezzo-Soprano 

HANSEL,    I  M     •       i  -ij  f  Mezzo-Soprano 

.-,___.      ,  their  children •<  c 

GRETEL,    I  (.  Soprano 

THE  WITCH  who  eats  children , Mezzo-Soprano 

SANDMAN,  the  Sleep  Fairy Soprano 

DEWMAN,  the  Dawn  Fairy Soprano 


VICTOR    BOOK    OF    THE     OPERA— HANSEL    AND     G  RET  EL 


This  delightful  opera  is  built  upon  the  simple  Grimm  tale  of 
Babes  in  the  Woods,  and  first  suggested  itself  to  the  composer  to 
amuse  his  sister's  children.  It  was  afterward  elaborated  into  a 
complete  opera,  which  has  become  one  of  the  most  important  and 
interesting  of  modern  German  works. 

Two  German  peasant  children,  Hans  and  Gretchen,  are  sent  to 
the  woods  for  strawberries  and  get  lost.  The  Sandman  finds  the 
babes  and  sings  them  to  sleep,  while  angels  and  fairies  watch  over 
them.  They  are  awakened  by  the  Dew  Man,  and  go  for  breakfast 
to  the  house  of  the  Witch,  who  plans  to  eat  them  ;  but  when  she 
opens  the  oven  to  see  if  it  is  hot  enough  to  cook  Hans,  she  herself 
is  pushed  in  by  Gretchen. 

Several  numbers  from  this  interesting  opera  are  presented  here, 

—  the  first  being  the  beautiful  Prelude. 

Prelude  to  Hansel  and  Gretel 

By  Arthur  Pryor's  Band  31853     12-inch,  $1.OO 

This  Prelude  is  an  especially  beautiful  number.  It  opens  with 
the  Prayer  of  the  Children,  played  by  the  brass  —  at  first  softly,  then 
swelling  to  the  full  strength  of  the  band.  This  is  followed  by  a 
passage  portraying  morning  in  the  forest,  and  upon  this  pastoral 
scene  there  breaks  in  rudely  the  Hocus  pocus,  or  Witches'  motive. 
The  Prelude  is  brought  to  a  close  with  a  return  of  the  Prayer  theme. 

The    delicacy    and    charm  of  this   music  is  well  brought  out  by  the  band  under   Mr. 
Pryor's  masterly  baton. 

ACT  I 

The  scene  is  laid  in  the  house  of  Peter,  where  the  two  children  are  busily  working 

—  Hansel  making  brooms  and  Gretel  knitting  a  stocking.      Gretel  begins  the  old  German  folk- 
song, "Susie,  What  is  the  News?"  with  its  nonsense  about  the  geese  going  barefoot  because 
of  their  lack  of  shoes.     Hansel,  thinking  more  of  his  stomach  than  of  the  feet  of  the   geese, 
asks  when  they  are  likely  to  have  something  to  eat.      Little   Gretel  reproves  him   for  making 

a  fuss  about  something  which  cannot  be 
helped. 

Suse,  liebe  Suse  (Little  Susie  !  ) 

By  Alma  Gluck,  Soprano,  and 

Louise  Homer,  Contralto 
(In  German)      88418      12-inch,  $3.OO 

Peter  now  returns  to  his  cottage  and 
finds  the  children  gone  after  strawberries. 

In  this  air  he  frightens  his  •wife  by 
telling  of  the  witch  who  lives  in  a  honey- 
cake  house,  and  who  after  enticing  little 
children  into  it,  bakes  them  into  ginger- 
bread in  her  oven. 

Eine  Hex'  steinalt  (The 
Old  Witch) 

By  Otto  Goritz,  Baritone 
(In  German)     64164      lO-inch,  $1.OO 

Mr.  Goritz's  admirable  character 
study  as  Peter,  the  tipsy,  kind-hearted 
and  superstitious  father,  was  one  of  the 
features  of  the  Metropolitan  revival,  and 
this  odd  number  is  given  by  him  with 
much  effectiveness. 


THE  CHILDREN   AT  HOME 


VICTOR     BOOK     OF    THE     OPERA— HANSEL     AND     GRETEL 


Thi 


ACT  II 

scene  shows  the  depths  of 


THE   CHILDREN    IN    THE  WOOE 


the  forest,  into  which  the  children 
wandered.  Hansel  picks  berries  while 
Gjretel  weaves  garlands  of  flowers. 
Darkness  soon  comes,  and  the  children 
are  frightened  and  cling  together.  A 
little  gray  man,  the  Sandman,  or  Sleep 
Fairy,  strews  sand  in  their  eyes  as  he 
sings  his  air. 

Der  kleine  Sandmann  bin 
ich     (I  Am  the  Sleep 
Fairy) 

By  Gluck  and  Homer     (In 
German)     88419      12-inch,  $3.OO 

The  children  slumber,  and  as  the 
curtain  falls  angels  are  seen  keeping 
guard  over  them. 

ACT  III 

The  curtain  rises,  showing  Hansel 
and  Gretel  still  asleep  in  the  wood. 
The  Dawn  Fairy  shakes  dewdrops  on 
the  children  and  wakes  them  just  as 
the  mist  clears  away,  revealing  the 
house  of  the  Wilch. 

The  children  approach  cautiously  and  begin  to  nibble  at  the  gingerbread  fence,  when  the 
Witch  comes  out  and  casts  a  spell  over  them. 

Hexenritt  und  Knusperwalzer     (Witch's  Dance) 

By  Alma  Gluck  and  Louise  Homer  (In  German)  87131  lO-inch,  $2.OO 

She  makes  a  good  fire  in  the  stove  for  the  purpose  of  roasting  the  babes,  and  in  her 

joy  she  rides  wildly  around 
the  room  on  a  broomstick, 
singing  this  unique  Hexenritt. 

The  duet  begins  with  the 
soliloquy  of  the  Witch  as  she 
sees  Gretel  peeping  into  the 
oven,  and  prepares  to  push 
her  in  to  be  baked  into  magic 
gingerbread.  The  second  part 
of  the  duet  is  the  portion 
called  the  "Witch's  Waltz," 
and  is  sung  and  danced  by 
Hansel  and  Gretel  after  the 
•wicked  Witch  has  been  pushed 
into  the  oven.  They  dance 
around  the  room,  wild  with 
joy,  and  then  prepare  to  eat 
their  fill  of  the  good  things 
stored  in  the  Witch 's  house. 

After  the  death  of  the 
Witch  the  gingerbread  chil- 
dren come  to  life  and  thank 
the  children  for  releasing  them 
from  the  spell.  The  father  and 
mother  of  Hansel  and  Gretel 
now  arrive  and  embrace  the 
children  as  the  curtain  falls. 


I  Hill!  Ill 


THE    CHAMBER    OH 


/         (French) 

HERODIADE 

(Au-rod-yadd1) 

OPERA   IN   FIVE   ACTS 

Words  by  Paul  Milliet  and  Henri  Gr&nont,  based  on  Gustave  Flaubert's  novelette, 
Herodias.  Music  by  Jules  Massenet.  First  production  December  19,  1881,  at  the  Theatre 
de  la  Monnaie,  Brussels.  Produced  in  Paris  at  the  Theatre  Italien,  February  1,  1884,  with 
Jean  and  Eduard  de  Reszke,  Maurel,  Tremelli  and  Devries.  Revived  at  the  Thedtre  de  la 
Qaite  in  1903,  with  Calve  and  Renaud.  First  German  production  in  Hamburg,  1883,  with 
Sucher,  Krauss  and  Winkelmann.  First  London  production  1904,  under  the  title  Salome, 
with  the  locale  changed  to  Ethiopia  by  the  British  censor's  orders.  First  American  produc- 
tion at  the  Manhattan  Opera  House,  New  York,  November  8,  1909,  with  Cavalieri,  Gerville- 
Reache,  Duchesne,  Dalmores  and  Renaud. 

CAST 
JOHN  THE  PROPHET Tenor 

HEROD,  King  of  Galilee Baritone 

PHANUEL,  a  young  Jew Bass 

VlTELLJUS,  a  Roman  proconsul Baritone 

THE  HIGH  PRIEST Baritone 

A  VOICE  IN  THE  TEMPLE  Bass 

SALOME Soprano 

HERODIAS Contralto 

A  YOUNG  BABYLONIAN  WOMAN 

Merchants,  Hebrew  Soldiers,  Roman  Soldiers,  Priests,  Levites,  Temple 

Servitors,  Seamen,  Scribes,  Pharisees,  Galileans,  Samaritans, 

Sadducees,  Ethiopians,  Nubians,  Arabs,  Romans. 


The  action  talfes  place  in  Jerusalem— Time,  about  30  A.  D. 
177 


VICTOR  BOOK    OF   THE    OPERA— MASSENET'S    HERODIADE 


CALVE   AS    SALOME    IN    HERODIADE 


Herodiade  was  first  produced  in  Brussels  in  1881. 
The  first  Paris  production  of  this  opera  was  especially 
interesting  because  of  the  first  appearance  of  Jean  de 
Reszke  as  a  tenor  (he  was  formerly  a  baritone).  It  was 
not  until  1904,  however,  that  the  opera  was  brought 
out  in  London  (under  the  title  of  Salome)  with  Mme. 
Calve,  Dalmores  and  Renaud  in  the  leading  roles.  Mr. 
Hammerstein's  brilliant  production  of  this  work  was 
one  of  the  events  of  a  recent  season  at  the  Manhattan. 

The  opera  contains  much  of  the  best  music 
Massenet  has  written ;  and  the  plot,  while  based  on 
the  well-known  Scriptural  story,  does  not  follow  the 
Bible  or  tradition  very  closely,  differing  quite  largely 
from  Salome. 

ACT  I 

SCENE — Court  of  Herod's  Palace  at  Jerusalem 

Salome  enters  and  is  greeted  by  Phanuel,  a  young 
Jew,  who  is  astonished  that  she  should  be  in  the  Palace, 
and  wonders  if  she  can  be  ignorant  of  the  fact  that 
Herodias  is  her  mother.  Salome  tells  him  she  is  seeking 
John  the  Prophet,  and  in  this  air  she  describes  how 
he  had  saved  her  from  the  desert  when  a  child,  and 
how  good  and  kind  he  is. 


II  est  doux,   il   est  bon    (He  is  Kind,   He  is 

Good)    By  Emma  Calve  (French)   88130     12-in.,  $3.0O 

Salome  goes  out  just  as  Herod  enters  searching  for  her. 
Herodias  rushes  in  and  demands  John's  head,  saying  that  he 
had  insulted  her.  John  appears,  denounces  them  both  and 
drives  them  out,  terrified.  Salome  enters  and  tells  John  of  her 
love  for  him,  but  he  bids  her  turn  to  God. 

ACT  II 

SCENE— Herod's  Chamber 

Herod  lies  on  his  luxurious  couch,  while  attendants  sing  to 
him.  He  can  think  of  no  one  but  Salome,  and  bids  the  slaves 
dance  to  distract  his  mind.  A  love  potion  is  given  him  by  a 
slave,  who  says  it  will  make  him  see  the  face  of  the  one  he  loves. 

He  then  sings  the  famous  Vision  fugitive,  considered  the 
most  beautiful  of  the  airs  in  the  opera. 

Vision  fugitive  (Fleeting  Vision) 

By  Emilio  de  Gogorza,  Baritone 

(In  French]      88153      12-inch,  $3.OO 


^ILLE-REACHE    AS    HERODI/ 
IN     HERODIADE 


Herod  describes  the  vision 
of  Salome  which  haunts  him 
night  and  day,  and  declares  that 
to  possess  her  he  would  gladly 
surrender  his  soul.  He  drinks 
the  love  potion,  and  falls  on  the 
couch  in  a  delirious  sleep. 

SCENE  II— Public  Square  at 

Jerusalem 

The  scene  shows  Herod  re- 
ceiving messages  from  the  allies, 
and  denouncing  Rome.  Herodias 
enters  and  announces  that  the 


VICTOR   BOOK    OF    THE    OPERA— MASSENET'S   HERODIADE 

Roman  general,  Vilellius,  is  approaching.      The  people  are  terrified,  but  Vitellius  declares  that 
Rome  desires  the  favor  of  the  Jews  and  will  give  back  the  Temple  of  Israel. 

John  and  Salome  enter  and  Vitellius  is  surprised  at  the  honor  paid  to  the  Prophet. 
Herod  gazes  with  eyes  of  love  at  Salome,  while  Herodias  watches  her  jealously.  John 
denounces  Vitellius  as  the  curtain  falls. 

ACT   III 

SCENE  l—Phanuel's  House 

Phanuel  is  disclosed  gazing  at  the  city,  which  lies  silent  under  a  starry  sky,  and 
prophesying  the  fate  which  is  to  overwhelm  it. 

Air  de  Phanuel  (Oh,  Shining  Stars) 

By  Marcel  Journet,  Bass  (In  French}      74152     12-inch,  «.5O 

He  calls  upon  the  stars  to  tell  him  what 
manner  of  man  is  this  John,  who  speaks  with 
such  authority.  "Is  he  a  man  or  a  god?"  he 
cries.  Herodias  enters,  much  agitated.  Phanuel 
inquires  what  has  brought  the  Queen  to  his 
house,  and  she  cries,  "  Vengeance  on  the  woman 
•who  has  stolen  Herod's  love !  "  He  reads  her 
fate  by  the  stars,  and  sees  nothing  but  blood 
in  the  horoscope.  She  asks  him  about  her  child, 
lost  so  long  ago,  and  he  takes  her  to  the  window 
and  shows  her  Salome,  who  is  just  entering  the 
Temple.  Horrified,  Herodias  cries,  "  My  daugh- 
ter? Never!  That  is  my  rival!" 

SCENE  II— Inner  Court  of  the  Temple 
The  second  scene  shows  the  entrance  of 
the  Temple.  Salome  enters  half  fainting,  having 
heard  that  John  has  been  cast  in  prison,  and 
falls  exhausted  at  the  prison  entrance.  Herod 
enters,  and  seeing  Salome,  breaks  out  into  a  mad 
declaration  of  his  love,  but  she  repulses  him 
with  horror,  and  tells  him  she  loves  another. 
He  declares  he  will  find  this  lover  and  kill  him, 
and  goes  out  as  the  people  enter  the  Temple. 
John  is  brought  in  and  denounced  by  the 
priests,  but  prays  for  them  as  they  demand 

DUFRANNE    AS    PHANUEL  J"8  deatlV         5afom«  IUnS   *°  M"    3nd     falls    «*     his 

reel,  wishing  to  die   with   him.     Herod,    seeing 

that  it  is  John  whom  Salome  loves,  orders  them  both  put  to  death,  and   they  are  seized   and 
borne  out  by  guards  as  the  curtain  falls. 

ACT   IV 

SCENE  I— Prison  Cell  in  the  Temple 

John  and  Salome  are  here  seen  in  prison.  John  admits  that  he  loves  the  young  girl,  and 
urges  her  to  fly  and  save  her  life,  but  she  refuses,  declaring  she  will  die  with  him.  Priests 
appear  and  order  John  to  death,  and  command  Salome  to  be  taken  to  the  Palace  by  Herod's 
commands.  She  resists  desperately,  but  is  dragged  away. 

SCENE  II—  Great  Hall  in  the  Temple 

The  great  festival  in  honor  of  the  Roman  Empire  is  in  progress.  Salome  is  brought  in 
and  again  entreats  to  be  allowed  to  die  with  John.  She  appeals  to  the  Queen,  saying, 
"  If  thou  wert  ever  a  mother,  pity  me."  Herodias  trembles  at  the  word,  and  gazing  on 
her  daughter,  seems  about  to  yield,  when  the  executioner  appears  at  the  back  with  a 
dripping  sword  and  cries,  "The  Prophet  is  dead."  Salome  gives  a  terrible  cry  and  tries  to 
kill  the  Queen,  who  screams  :  "  Mercy !  I  am  thy  mother  I  "  Salome  recoils  in  horror,  curses 
her  mother  and  stabs  herself. 

(Cur/am) 

179 


LES  HUGUENOTS 

(Layz  Hueg-gnoh} 
(Italian) 

GLI  UGONOTTI 


DIE  HUGENOTTEN 

(Dee  Hoo-gen-ott'-en) 
(English) 

THE  HUGUENOTS 


(Glee  Oo-goh-nof-tih)  (Heirf -gen-ahts) 

OPERA  IN  FIVE  ACTS 

Libretto  by  Scribe  and  £mile  Deschamps.  Score  by  Giacomo  Meyerbeer.  First  pre- 
sented at  the  Academic  in  Paris,  February  29,  1836.  First  London  production  in  German  in 
1842  and  in  Italian  July  20,  1848.  First  New  York  performance  June  24,  1850.  Some  notable 
American  productions  were  in  1858,  with  La  Grange,  Siedenburg,  Tiberini  and  Karl  Formes; 
in  1872,  with  Parepa-Rosa,  Wachtel  and  Santley;  in  1873,  with  Nilsson,  Gary,  Campanini 
and  del  Puente;  in  1892,  with  Montariol,  de  Reszke,  Lasalle,  Albani  and  Scalchi ;  in  1905, 
with  Sembrich,  Caruso,  Walker,  Plancon,  Scotti  and  Journet;  in  1907,  with  Nordica,  Nielsen, 
Constantino  and  de  Segurola;  and  the  Manhattan  production  in  1908,  with  Pinkert,  Russ, 
Bassi,  Ancona  and  Arimondi. 


Cast 


r   ,   ,.       ,  , 

<-atnollc  noblemen 


COUNT  OF  ST.  BRIS,  (sah  a™')  \ 
COUNT  OF  NEVERS,  (Nev-airz)    j 

RAOUL  DE  NANGIS,  (Rah-oof  day  Non-zhee')   a  Protestant  gentleman 
MARCEL,    (Mahr-chef)  a  Huguenot  soldier  and  servant  to  Raoul  .  . 

MARGARET  OF  VALOIS,    (Val-ooati)   betrothed  to  Henry  IV 

VALENTINE,  daughter  of  St.  Bris 

URBANO,  (Ur-bah'-noh)  page  to  Queen  Margaret Mezzo-Soprano 

Ladies  and  Gentlemen  of  the  Court,  Pages,  Citizens,  Soldiers,  Students,  etc. 


J  Baritone 

\  Baritone 

....  Tenor 

Bass 

. . Soprano 
Soprano 


Scene  and  Period :      Touraine  and  Paris  ;     during  the  month  of  August,   1572. 
180 


VICTOR    BOOK    OF    THE    OPER  A— T  HE    HUGUENOTS 

This  opera  is  considered  the  composer's  masterpiece,  and  is  indeed  a  -wonderfully 
imposing  work,  with  its  splendid  scenes,  beautiful  arias  and  concerted  numbers,  and  its 
thrilling  dramatic  situations.  The  romance  as  well  as  the  fanaticism  of  the  period  are 
faithfully  pictured,  and  the  whole  presented  on  a  magnificent  scale.  The  work,  however, 
is  undeniably  too  long  for  a  single  evening's  performance,  requiring  fully  five  hours  when 
given  entire ;  and  it  is  to  be  regretted  that  some  courageous  impresario  does  not  prune 
and  pare  it  until  it  becomes  of  reasonable  length.  The  Victor,  however,  has  been  merciful, 
and  has  selected  only  the  gems  of  the  work,  -which  have  been  given  by  a  fine  cast  headed 
by  Caruso. 

The  story  relates  to  one  of  the  most  dramatic  periods  in  French  history,  and  tells  of  the 
massacre  of  Huguenots  in  1572,  and  of  the  efforts  of  Margaret  of  Valois,  the  betrothed  of 
Henry  IV,  to  reconcile  the  disputes  between  the  Protestants  and  the  Catholics. 

ACT  I 

SCENE  I— House  of  the  Count  of  Nevers 

The  overture  is  a  short  one  and  consists  mainly  of  the  Lutheran  chorale,  which  occurs 
several  times  in  various  portions  of  the  opera.  The  curtain  rises,  disclosing  a  magnificent 
salon  in  the  house  of  Nevers,  -where  a  gay  party  of  Catholic  noblemen  are  feasting.  The 
Count  explains  that  he  expects  another  guest,  a  Huguenot,  -whom  he  hopes  they  -will  treat 
•with  courtesy.  Raoul  arrives  and  makes  a  favorable  impression  on  the  guests.  Nevers 
toasts  the  ladies,  proposing  that  each  relate  an  adventure  with  some  fair  one ;  Raoul, 
being  the  latest  arrival,  is  called  upon  first,  and  describes  his  rescue  of  an  unknown  beauty 
(who  proves  afterward  to  be  Valentine,  St.  Bris'  daughter)  from  some  drunken  revelers. 
In  this  air  he  tells  of  her  beauty  and  the  deep  impression  she  made  on  him. 

Piu  bianca — Romanza  (Fairer  Than  the  Lily) 

By  Enrico  Caruso,  Tenor  (In  Italian)     882 1O     12-inch,  $3.00 

By  M.  Gautier,  Tenor  (In  French)   *45O07     10-inch,     1.00 

Caruso  makes  a  manly  picture  as  the  young  nobleman,  and  sings  the  music  allotted  to 

Raoul  charmingly,  especially  this  delicate  Romanza,  in  which  he  describes  the  vision  of  the 

unknown  with  whom  he  has  fallen  in  love.      In  dreamy  tones  he  sings  the  recitative,  after 

which  a  short  introduction  brings  us  to  the  romanza,  beginning 


Andanlino  Crazuuo. 

i 


UK 

J'iii  lii.ni     -     ca,  del     i>m       l.i.m  -co         ve lo. 

Fair     •    er  far  t'e*    than     fair  •  tst        til y. 

Nothing  could  be  more  tender  and  beautiful  than  Caruso's  singing  of  this  number. 

RAOUL: 

Fairer   far  e'en   than    fairest   lily,  And  in  her   eyes  the  love-light  gleamed, 

Than  spring  morn  more  pure  and  more  lovely         Bidding  me  hope  her  love  to  gam. 

and   bright,  Oh!    she  was  charming  past  all    expression! 

An  angel   of  Heaven  born   beauty  And    as    before    her    form    divine    I    bent    my 

Burst  upon  my  ravish'd  sight.  knee, 

Sweetly  she  smiled  as  I  stood  by  her  side,  I     falter'cl     forth,     "Fair     angel,     that     cometh 

Sighing    the    love    which    e'en    her    tongue    to  from   Heav'n  above, 

speak  denied;  For  evermore  shad   I   love   none  but  thee!" 

A  French  rendition  by  M.  Gautier,  of  the  Paris  Op6ra,  is  offered  at  a  popular  price,  and 
the  record  is  a  most  excellent  one. 

The  applause  which  greets  this  recital  is  interrupted  by  the  entrance  of  Marcel,  who 
makes  no  secret  of  his  displeasure  at  seeing  his  master  dining  with  Romanists.  Raoul 
apologizes,  begging  indulgence  for  an  old  soldier  and  faithful  servant  who  loves  him,  and 
the  guests  call  on  Marcel  for  a  song.  The  grim  soldier  offers  to  sing  an  old  Huguenot  song 
of  warning  both  against  Rome  and  the  wiles  of  woman. 
MARCEL: 

Sirs,  I  will;  an  old  Huguenot  song  against  the  snares  of  Rome  and  the 
dark  wiles  of  woman.  You,  sirs,  should  know  it  well — it  is  our  battle 
song:  you  heard  it  at  Rochelle,  for  there  'twas  sung,  'mid  the  din  of 
drums  and  trumpets;  with  a  full  accompaniment — piff,  pan",  piff,  paff, — 
of  bullets  from  our  ranks,  thus  out  it  rang: 

*  Double-Face  d  Record— See  page  186. 


VICTOR    BOOK    OF    THE    OPER  A— T  HE     HUGUENOTS 

Piff!  Paff!   (Marcel's  Air) 

By  Marcel  Journet,  Bass 

(In  French)      74156      12-inch,  $1.5O 

MARCEL: 

Old   Rome  and  her   revelries, 
Her  pride  and  her  lust,  boys, 
The   monks  and   their   devilries, 
We'll   grind  them  to   dust,   boys! 
Deliver  to   fire   and   sword 
Their  temples   of   Hell. 
Till  of  the  black  demons 
None   live  to  tell! 
Woe  to  all  defilers  fair! 
I  ne'er   heed   their  shrieking — 
Woe  to   the   Dalilahs  fair, 
Who  men's  souls  are  seeking! 
Deliver  to  fire  and  sword 
Those  children   of  Hell, 
Till  of  the  black  demons 
None  live  to  tell! 

Refrain 

Piff,  paff,  piff;  slay  them  all, 
Piff,  paff,  piff,  ev'ry  soul! 

Piff,  paff,  piff;  paff;  piff;  piff,  paff,  piff,  paff! 
All  vainly  for  aid  or  for  mercy  they  call; 
No  pity  for  them!     No  they  die — slay  all! 
No,  no,  no,  no,  no,  no,  no;  slay  all! 

Journet's  portrayal  of  the  grim,  stubborn  old  serv- 
ant is  a  very  fine  one,  and  his  rendition  of  the  Piff,  Paff  is  remarkable  in  its  rugged  force 
and  stern  simplicity. 

A  servant  of  Nevers  announces  a  veiled  lady  to  see  him  and  he  retires  to  an  adjoining 
room.  Raoul  catches  sight  of  the  lady  through  the  window  as  she  lifts  her  veil,  and  is 
astonished  and  grieved  to  recognize  the  beauty  he  had  saved  from  the  ruffians. 

A  young  page  now  enters,  and  in  a  lovely  air,  familiarly  called  the  Page  Song, 
announces  that  she  has  a  message  for  one  of  the  cavaliers  present. 

Nobil  Signori  salute !  (Noble  Sirs,  I  Salute  You) 

By  Louise  Homer,  Contralto  (In  Italian)     851O7     12-inch,  $3.0O 

This  gay  and  brilliant  cavatina  is  considered  one  of  the  most  difficult  of  contralto  num- 
bers. It  begins  with  a  long  and  very  ornamental  cadenza,  followed  by  this  graceful  melody: 


Andantino  Co.nta.bilt,  con  grazia. 


No  -  bil    don-naj  tan  -  too  -  ne    • 
From    a     la  •  ^y  fnir   and  love    • 


che    far   lie-toun  re po   •  tria. 

For  whose  smiUsa  king         might    woo. 


worked  up  with  much  spirit  and  reintroduced  after  a  striking  series  of  vocal  figures  sung 
on  the  word  "no."  Mme.  Homer's  execution  of  this  florid  air  exhibits  well  the  great  flexi- 
bility of  her  fine  voice. 

Meyerbeer  intended  this  part  for  soprano,  but  it  is  usually  transposed  and  sung  by  a 
contralto. 

URBANO: 

A  most  charming  noble  lady, 
Whom   with   envy   kings   might   view, 
With 


message  here  has  charged  me, 
Cavaliers,  cavaliers,  to  one  of  you. 
I  do  not  name  him;  but  honor  be 
Unto  the  good  knieht,   whoe'er  be  he! 
And   until   now.   sirs,   there   ne'er  hath  been 
Mortal   so  favor'd  by  beauty's   queen  ! 

The  note  proves  to  be  for  Raoul,  and  bids  him  consent  to  come  blindfolded  in  a 
carriage,  without  question,  to  wherever  his  guide  will  take  him.  The  young  man  is  puzzled 
but  decides  to  obey,  and  shows  the  note  to  the  others.  They  recognize  the  seal  of  Margaret 
of  Valois,  and  cast  looks  of  envy  at  him  as  he  follows  the  page. 

182 


VICTOR    BOOK    OF    THE    OPER  A— T  HE    HUGUENOTS 


ACT   II 

SCENE — Castle  and  Gardens  of  Chenonceaux 

The  Queen  is  seated  on  a  kind  of  throne  surrounded  by  her  maids,  who,  with  Urbano, 
are  assisting  in   her  toilet.      She  rises   and   sings   her 
great  air  in  praise  of  fair  Touraine. 

O,  vago  suol  del  la  Turenna    (Fair 
Land  of  Touraine) 

By  Maria  Galvany,  Soprano 

(In  Italian)      88234      12-inch.  $3.0O 
By   Frieda  Hempel,  Soprano 

(In  French)      88382      12-inch.     3.OO 
By  Giuseppina  Huguet,  Soprano 

(In  Italian)    *35123      12-inch,      1.25 
QUEEN  : 

Oh,   lovely  land  of  fair  Touraine! 

Thy   vine-clad   hills,   thy   sparkling   fountains, 

Thy   green   banks   and   thy   murm'ring   zephyrs, 

All  fill  my  soul  with  peace  and  love! 

Yet.   for  a   difference   in   belief. 

This  fair  scene  may  by  war  be  stain'd! 

Oh,   that   men   would   observe  the   moral, 

To  love  and  fear   the  all-powerful   Being! 

But  hence  with  sorrow! 

Care  we  will  banish; 

Quick,   let   it  vanish,   far,   far  away! 

In  the  land  where  I  reign. 

From  the  mount  to  the  main, 

All  re-echo  the  strain 

That's  devoted  to  love! 

The  maids  disperse,  and  Valentine  enters  and  tells  the  Queen  that  she  has  seen  the 
Count  de  Nevers,  who  has  promised  to  release  her  from  the  engagement  which  had  been 
arranged.  Margaret  informs  her  that  she  has  another  cavalier  in  mind— meaning  Raoul, 
who  is  now  conducted  to  the  ladies  and  his  mask  removed.  He  is  much  astonished  to  find 
that  it  is  the  Queen  who  has  sent  for  him,  and  pledges  his  honor  and  his  sword  to  her  service. 
He  does  not,  however,  perceive  Valentine,  who  has  retired  at  the  moment  of  his  entrance. 

The  nobles  of  the  Court,  Protestant  and  Catholic,   now  enter, 

^^^B>  having   been   sent   for   by   Margaret.      She   announces   that    she    is 

planning  a  marriage  which  shall  reconcile  all  their  differences,  and 
asks    them    to   swear   to   live    in   peace   -with    each    other.      Raoul, 

^ — -  Nevers,  St.  Bris  and  the  nobles  gather  around  the  Queen  and  take 

the  oath. 

Valentine  is  now  led  in  by  her  father  and  presented  to  Raoul. 
He  starts  in  astonishment,  having  recognized  the  lady  he  had  res- 
cued, and  whom  he  had  seen  meeting  Nevers. 

RAOUL   (in  a  stifled  voice)  : 

Great  Heaven!  what  do  I  see? 
MARGARET: 

Why  this  astonishment? 
RAOUL: 

What!  is  this  the  bride  you  would  offer  to  me? 
MARGARET  : 

Yes,   to  marry  and  to  love. 
RAOUL: 

What  perfidy!   what  treachery! 

I  her  husband!     Never,  never! 

A   terrible    scene    follows,  St.    Bris  challenging  Raoul,   who   is 
ordered   under  arrest  by  the  Queen.      Valentine  is  overcome  with 
shame,  and  the  Catholics  are  furious.     Marcel  is  delighted  that  his 
master  has  escaped  marriage  with  a  Catholic,  and  the  curtain  falls 
s  THE  PAGE       as  the  Lutheran  chorale  is  again  heard  in  the  orchestra. 

'Double-Faced  Record — Seepage  186. 


VICTOR    BOOK    OF    THE    OPER  A— T  HE    HUGUENOTS 


NILSSON    AS    VALENTINE 


ACT  III 
SCENE— A  Square  in  Parts 

Catholic  students  are  seated 
outside  an  inn  on  the  left,  while 
opposite  some  Huguenot  sol- 
diers are  drinking  and  playing 
dice.  The  soldiers  sing  their 
famous  Rat-a-plan. 

Coro  di  Soldati 
(Soldiers'  Chorus, 
"Rataplan") 

By  Metroplitan  Opera 
Chorus     (In  Italian) 

*45051      10-inch,  $1.OO 

A  wedding  procession  pass- 
es on  its  way  to  the  church ;  it 
is  for  Valentine,  who  has  been 
persuaded  to  wed  Nevers. 
Valentine  asks  that  she  be  per- 
mitted to  spend  the  day  in  the 
chapel  in  prayer.  While  there  she  overhears  a  plot  to  assas- 
sinate Raoul,  and  at  once  goes  in  search  of  Marcel  to  inform  him  of  the  plan.  She  meets 
him  in  the  square  and  tells  him  of  the  plot. 

Nella  notte  io  sol  qui  veglio  (Here  By  Night  Alone  I  Wander) 

By  Maria  Grisi,  Soprano,  and  Perello  De  Segurola,  Bass 

(In  Italian)     *634O4     10-inch,  $0.75 

Marcel  thanks  her  for  the  warning  and  goes  with  his  friends  to  the  rescue.  A  general 
conflict  is  threatened  but  is  prevented  by  the  Queen,  who  appears  just  in  time.  She  tells 
Raoul  that  Valentine  is  innocent  of  wrong,  having  merely  gone  to  Nevers '  house  to  ask  him 
to  release  her.  Raoul  is  overcome  with  remorse,  but  the  knowledge  comes  too  late,  as 
Valentine  is  already  the  wife  of  Nevers. 

A  richly  decorated  boat  approaches,  occupied  by  the  nuptial 
suite.  Nevers  leads  Valentine  to  it,  and  as  all  salute  the  bridal 
couple  the  boat  moves  away,  while  Raoul,  overcome  by  grief, 
is  supported  by  Marcel.  The  curtain  falls. 

ACT  IV 
SCENE— A  Room  in  Nevers'  Castle 

Valentine,  alone,  broods  over  her  sorrows,  confessing  to  her- 
self that  although  wedded  to  another,  she  still  loves  Raoul.  She 
is  astounded  to  see  her  lover  appear,  he  having  braved  death 
and  entered  the  castle  to  see  her  again.  Valentine  hears  her 
father's  voice,  and  hastily  conceals  Raoul  behind  the  tapestry. 
The  Catholic  nobles  enter  to  discuss  the  plot  outlined  by  St.  Bris. 
They  finally  agree  to  his  fiendish  proposal,  and  swear  to  slaughter 
the  Huguenots.  Nevers  is  horrified  at  the  bloody  scheme  to 
exterminate  all  Protestants,  and  refusing  to  become  an  assassin, 
he  breaks  his  sword,  and  is  led  away  by  the  guards. 

The  conference  closes  with  the  famous  Benediction  of  the 
Swords,  perhaps  the  greatest  and  most  thrilling  of  all  operatic 
scenes.  A  magnificent  record  of  this  number  has  been  given  by 
Journet  and  the  Opera  chorus. 

Benediction  of  the  Swords 

By  Marcel  Journet,  Bass,  and  Metropolitan 

Opera  Chorus      (In  Italian)      74275      12-inch.  $1.5O 
By  Sousa's  Band  *35118     12-inch,     1.25       CONSTANTINO  AS  RAOUL 

*Double-Fa<xd  Record—  For  title  of  oppose  sijcux  DOUBLE-FACED  HUGUENOTS  RECORDS,  page  186. 

184 


VICTOR    BOOK    OF    THE     OPER  A— T  HE    HUGUENOTS 


The  number  begins  with  the  strain  sung  by  St.  Bris  in  his  recital  of  the  plai 


Vo  •  1e    -    te       yoi,          in  •  sieme    a       me,  col  -  pi    •     •    re  i    tra    •  di  -        tor? 

H'ill       ye        alt  join      with    mt  the     trai     -      tors     to       de  -         strqp ; 

This  is  followed  by  the  noble  strain  of  the  Benediction,  one  of  the  best  known 
in  Meyerbeer's  work — 


ben ! 
Tu       wellt 


passages 


ST.  BRIS: 

Do  you  wish  our  dear  country  to  save? 
MONKS  AND  NOBLES: 

It  is  our  wish!   our  hearts'   desire! 
ST.   Bius: 

To  serve  our  noble   King, 

Will  ye  the  traitors  destroy? 
MONKS  AND  NOBLES: 

The   King's  commands,   we   will   obey! 
ST.  BRIS: 

'Tis  well!    now   hear  the   King's   decree: 

These  Huguenots,   whose  vile  detested  race  we 
hate, 

Shall  from  this  day  by  the  sword  disappear! 
ST.  BRIS: 

On   Heaven's   just  cause   relying, 

This   impious   race   defying, 

'Mid  thousands   round  thee  dying, 

Now  swear  that  no  mercy  thou'lt  show! 

A  sacred  zeal  inspiring, 

All  hearts  with  courage  firing, 

To  compass  Heav'n's   desiring, 

Now  for  vengeance  we  go! 


Then  comes   the  furious  and   fanatical  chorus   of  priests  and   lords,   one  of  the  most 
difficult  of  ensembles. 

ST.  BRIS: 

Be   silent,   my  friends,   and  breathe   not  e'en   a 

murmur 
To  wake  our  slumb'ring  foe! 


ALL: 

Strike  them   down,   men  and  children,   all! 
And  let  no  mercy  ever  be  shown! 
By   the   sword   they   shall   perish, 
And   their   temples   be   o'erthrown! 


ALL: 

Whisper  low,  not  a  word, 

Not  a  breath   or  sign   revealing,   while  we, 

silent   stealing, 
Strike  the  impious  foe! 
(With  fury.) 
Now   for  vengeance!    we   will   go! 

The  number  closes  with  the  famous  passage  for  the  basses  which 
finishes  on  a  low  E  natural,  sung  very  pianissimo,  as  the  company 
disperses. 

The  nobles  having  gone,  Raoul  comes  out,  horrified  at  what  he 
has  heard,  and  wishes  to  warn  his  friends,  when  Valentine,  thinking 
to  save  his  life,  urges  him  to  remain,  telling  him  that  she  loves  him. 
In  a  transport  of  delight  he  begins  the  great  duet. 

Dillo  ancor    (Speak  Those  "Words  Again  !) 

By  Ida  Giacomelli,  Soprano,  and  Gino  Martinez- 

Patti,  Tenor  (In  Italian)     *35123     12-inch,  $1.25 

RAOUL: 

Ah!  say  again  thou  lov'st  me! 

From  darkness  drear  I  have  awakened  to  bliss! 

Thou  hast  link'd  thy  fate  to  mine — 

Forever,   forever,   forever! 

Say  once  again   thou  lov'st  me! 

~*Dl,uble-FaceJ  Record-Far  title  of  oppoMc  siJe  see  DOUBLE-FACED  HUGUENOTS  RECORDS,  page  186. 

185 


VICTOR    BOOK    OF    THE    OPER  A— T  HE     HUGUENOTS 


The  great  bell  of  St.  Germain,  the  signal  to  prepare  for  the  slaughter,  is  heard  tolling, 
and  Raoul  makes  a  fresh  effort  to  go  to  the  aid  of  his  people.  Valentine  clings  to  him, 
but  he  rushes  to  the  window,  and  shows  her  that  the  massacre  has  already  begun ;  then 
tears  himself  from  her  arms  and  leaps  from  the  window,  while  she  falls  fainting. 

In  recent  productions  in  America,  because  of  the  great  length  of  Meyerbeer's  work,  the 
opera  has  ended  with  the  shooting  of  Raoul  by  the  mob  as  he  leaps  from  the  window ;  but 
in  the  original  version  a  fifth  act  occurs,  in  which  Neoers  is  killed,  and  Valentine,  renouncing 
her  faith,  is  united  by  Marcel  to  Raoul.  St.  Bris  and  his  party  enter  the  street,  and  not 
recognizing  Valentine,  fire  upon  the  three  and  kill  them.  The  curtain  falls  as  St.  Bris  dis- 
covers that  he  has  murdered  his  daughter.  This  final  tragedy  is  graphically  pictured  in 
the  accompanying  reproduction  from  an  old  drawing. 

DOUBLE-FACED  AND  MISCELLANEOUS  HUGUENOTS  RECORDS 
/Benediction  of  the  Poignards  By  Sousa's  Band  I ,, ,  ,  _        _   .     ,      .        ft 

1      Trooatore— Home  to  Our  Mountains  By  Morgan- Macdonough,^  -men,  ?  1.25 

(O  vago  suol  delta  Turenna    (Fair  Land  of  Touraine)    Huguetl 

JDilloancor     (Speak  Those  Words  Again)     By  Ida  >35123     12-inch,     1.25 

(         Giacomelli,  Soprano,  and  Gino  Martinez-Patti,  Tenor       J 

] Huguenots  Selection  By  Victor  BandlL,.-,,          ->:„„»,       i  o< 

\      j\ r  s\      j  o     r^-  i      r>      j/-".>5U2y      12— men,      1.25 

\     Norma  Overture  By  Victor  Band] 

Plus  blanche   (Fairer  Than  the  Lily)     M.Gautier     (In  French)]  .,  „„_     ._.     ,        .  __ 
Guillaume  Tell—j4sile  Heredit a/re— M.  Gautier,  Tenor    (In  French)^  "lnch'      1'O° 

Coro  di  Soldati  (Soldiers'  Chorus,  "Rataplan")  ] 

By  Metropolitan  Opera  Chorus      (In  Italian)  L  -_-  .     , 

Magic  Flute-0  his  und  hint  (Great  his]  45°51      1O-lnch-      l-°° 

By  Metropolitan  Opera  Chorus     (In  German)) 
Nella  notte  io  sol  qui  veglio     (Here  By  Night  Alone 

I  "Wander)  By    Grisi  and  Segurola     (In  Italian)  [&34O4     lO-inch,        .75 

Lucrezia  Borgia — Vieni  la  mia  vendetta  By  Giulio  Rossi,  Bass] 

Huguenots — Grand  Selection     (Part  of  Prelude — Chorus,  Act  I —     } 
Sextette,  Act  HI—Danse  Boheme,  Act  III— Prelude 

Arthur  Pry or's  Band   17314     lO-inch,       .75 
Masked  Ball  Selection     (Part  of  Ballet  Music  and  the  Aria, 

'  'Saper  vorreste, ' '  Act  III)  Vessella  's  Italian  Band] 


THE    FINAL    TRAGEDY 
186 


(Italian) 

I  GIOJELLI  DELLA  MADONNA 
DER  SCHMUCK'DER  MADONNA 

(English) 

THE  JEWELS  OF  THE  MADONNA 

OPERA  IN  THREE  ACTS 
Libretto  by  C.  Zangarini  and  E.  Golisciani ; 
music  by  Ermanno  Wolf-Ferrari.  First  performed 
as  Der  Schmuck  der  Madonna  at  the  Kurfuersten- 
oper,  Berlin,  December  23,  191 1.  First  American 
production  at  the  Auditorium  Theatre,  Chicago, 
January  12,  1912.  First  New  York  performance 
March  5,  1912. 


Cha 


GENNARO,  in  love  with  Maliella.  .  . 
MALIELLA,  in  love  with  Rafaele .  .  . 
RAFAELE,  leader  of  the  Cammorists 

CARMELA . 

BlASO ! 

CICCILLO 

STELLA 

CONCETTA  

SERENA 

GRAZIA 

TOTONNO  

Rocco  . . 


Tenor 

. . . . Soprano 
.  .  .  .  Baritone 
. . . . Soprano 

Tenor 

Tenor 

. . . . Soprano 

. . .    Soprano 

. . . . Soprano 

.  .  .  Dancer 


Bass 


Vendors,  Monks,  People  of  the  Streets,  etc. 


Time 


187 


ind  Place  :      The  scene  is  laid 
at  the  present  time. 


Naples, 


VICTOR    BOOK    OF    THE    OPERA  — JEWELS     OF     MADONNA 


Few  operas  of  recent  years  have 
met  with  the  unqualified  success  which 
has  been  accorded  Wolf-Ferrari's  vivid 
melodrama  of  Neapolitan  life.  The 
story  of  the  opera  is  the  composer's  own 
idea,  based  on  actual  happenings  in  the 
squalid,  superstitious  life  of  the  people  of 
Naples,  feverish  with  its  reckless  gayety, 
and  mingled  with  sadness  and  gloom. 
The  wild  doings  of  the  Cammorists,  the 
preparations  for  the  celebration  in  honor 
of  the  Virgin,  the  pageantry  of  the  Cath- 
olic ceremonial  and  the  wild  tumult  of 
Neapolitan  revelries  form  the  back- 
ground and  atmosphere  for  this  realistic 
music-drama. 

The  plot  may  be  summed  up  as 
follows :  Maliella,  a  wayward  Neapolitan 
beauty,  is  loved  by  her  foster  brother, 
Qennaro,  a  simple,  honest  lad,  but  the 
girl  is  infatuated  with  the  dashing 
Rafaele,  leader  of  the  Cammorists. 
Rafaele  proudly  boasts  that  he  would 
stop  at  nothing  to  prove  his  love  for 
Maliella,  declaring  he  would  even  steal 
for  her  the  jewels  which  deck  the  image 
of  the  Virgin.  The  young  girl,  annoyed 
by  Germans  attentions,  taunts  him  with 
not  daring  to  do  for  her  what  Rafaele 
had  offered.  Almost  in  the  hope  of 
winning  her  favor  the  poor  fellow  steals 
to  the  church  at  night,  secures  the 


HAMLIN    AS   GENNARO 


GENNARO    AND    MALIELLA 

jewels,  and  lays  them  at  Maliella' s  feet.  At 
first  she  is  fascinated  by  the  brilliancy  of  the 
gems,  but  as  she  realizes  the  awful  sacrilege 
Qennaro  has  committed  she  flies  to  Rafaele, 
whom  she  finds  in  the  inn  of  the  Cammorists. 
He,  in  a  frenzy  of  jealousy,  spurns  her,  declar- 
ing she  has  sold  herself  for  the  jewels.  The 
unhappy  girl  drowns  herself,  and  Gennaro,  in 
an  abandon  of  remorse  and  despair,  places  the 
jewels  on  an  altar,  prays  for  mercy,  and  drives 
a  dagger  into  his  heart.  As  the  people,  bent 
on  vengeance,  burst  into  the  room,  they  see  the 
body  of  the  unfortunate  youth  lying  before  the 
Madonna. 

One  of  the  features  of  the  opera  is  the 
beautiful  waltz  intermezzo  between  the  second 
and  third  acts,  which  has  been  given  here  in 
delightful  fashion  by  the  Victor's  fine  organi- 
zation, under  Mr.  Rogers'  direction. 

Intermezzo 
Victor  Con- 
cert Orchestra 
Merry  Wives  of 

Windsor  Over-     3527O      12-inch,  $1.25 
ture  (Nicolai) 
New  Symphony 
Orchestra  of 

London 


ONIGSK1NDER 


(German) 


KONIGSKINDER 


(English) 

THE  KING'S  CHILDREN 


(Koenigi -kin-Jer) 


FAIRY  OPERA  IN  THREE  ACTS 

Book  by  Ernst  Rosmer  (Elsa  Bernstein).  Music  by  Engelbert  Humperdinck.  First 
production  in  any  country  December  28,  1910,  at  the  Metropolitan  Opera  House,  New 
York,  with  Farrar,  Homer,  Jadlowker  and  Goritz  in  the  cast.  The  opera  has  since  been 
given  in  London  and  throughout  Europe. 


Characters 


THE  GOOSE  GIRL 
THE  KING'S  SON 
THE  WITCH 
THE  FIDDLER 
THE  WOODCUTTER 
THE  BROOMMAKER 
INNKEEPER 
INNKEEPER'S  DAUGHTER 


Soprano 
Tenor 

Contralto 

Baritone 

Bass 

Tenor 

Bass 

Mezzo-Soprano 


Tailor,  Stable-maid,  Gate-keepers,  Citizens,  Councillors,  Musicians,  Children,  etc. 


The  opera  of   Konigskinder  is  based  on  a  three-act  play  by  Ernst  Rosmer  (in  private 
life  Elsa  Bernstein),  with  incidental  music  by  Humperdinck.     The   first  production  of  this 
ay  took  place  at  Munich,  January  23,    1 897,  and  the  following  year  it  was  given  at  Irving 
ace  Theatre,  New  York,  and  four  years  later  in  English  as  Children  of  the  King. 

Humperdinck's  opera  is  allegorical  in  character,  illustrating  the  stupidity  of  mankind 
in  failing  to  recognize  true  loyalty  when  it  appears  to  them  in  disguise.  It  is  a  human 
little  story,  full  of  pathos,  humor  and  tenderness,  and  no  one  could  have  given  it  the  gentle, 
sympathetic  touch  better  than  Humperdinck. 


Pi 


VICTOR    BOOK    OF    THE    OPERA— THE    KING'S    CHILDREN 


The  story  tells  of  a  Goose 
Girl  who  lives  with  an  old 
Witch  in  the  hills  above  the 
town  of  Hellabrunn.  A 
poorly-dressed  youth  comes 
out  of  the  woods  and  tells  the 
Goose  Girl  of  his  wanderings. 
He  is  in  reality  the  King's  Son, 
but  the  girl  does  not  know 
this.  The  boy  falls  in  love 
•with  the  beautiful  maiden, 
and  asks  her  to  go  maying 
•with  him  through  the  summer 
land.  The  girl  longs  to  run 
off  •with  him,  but  finds  her 
feet  glued  to  the  ground.  The 
King's  Son,  believing  her  afraid 
to  go,  tells  her  she  is  unworthy 
to  be  a  king's  mate,  and  leaves 
her,  vowing  she  shall  never 
see  him  again  till  a  star  has 
fallen  into  a  lily  which  is 
blooming  nearby. 

The  Witch  returns  and 
scolds  the  Goose  Girl  for  wast- 
ing her  time  on  a  man.  The  Fiddler  enters,  followed  by  the  Woodcutter  and  Broommaker 
from  the  town,  who  come  to  ask  the  Witch  if  she  has  seen  the  King's  Son,  as  the  King  is 
dead  and  the  people  want  the  son  to  rule  in  his  place.  The  Witch  tells  them  that  the  first 
person  who  enters  the  city  gate  next  day  at  noon,  no  matter  what  his  seeming  social  condi- 
tion may  be,  will  be  crowned  King.  The  Wood- 
cutter and  Broommaker  depart,  but  the  Fiddler  lingers, 
hoping  to  get  a  glimpse  of  the  Goose  Girl,  who  is  in 
the  hut.  She  appears  and  tells  him  her  sorrows,  and 
he  assures  her  she  shall  wed  the  King's  Son.  The 
girl  prays  that  his  words  may  come  true,  and  as 
she  kneels  a  shooting  star  falls  into  the  heart  of 
the  lily.  She  runs  off  into  the  •woods  with  her 
flock  in  search  of  her  lover. 

In  Act  II  we  see  the  town  of  Hellabrunn  in  an 
uproar,  awaiting  the  new  ruler.  At  the  inn  near 
the  town  gates  is  the  King's  Son,  still  in  rags. 
Musicians  enter  and  a  dance  begins.  The  Gate- 
Deeper  refuses  to  allow  the  people  to  crowd  in  the 
gateway,  keeping  it  clear  for  the  entry  of  the  King. 
The  Woodcutter  is  invited  to  relate  his  adventures 
in  the  woods,  and  he  says  that  on  the  stroke  of 
twelve  the  King's  Son  will  enter  the  gates.  The 
people  scoff  at  the  suggestion  that  their  new  King 
might  come  in  rags,  but  as  the  clock  strikes  twelve, 
the  crowd  rushes  toward  the  gates  and  beholds  the 
King's  Son  in  his  rags,  and  the  Goose  Girl,  escorted' 
by  her  flock,  entering  the  city.  The  people,  •with 
the  exception  of  the  Fiddler,  who  recognizes  the 
King's  Son,  mock  the  couple  and  drive  them  out 
with  sticks. 

In  Act  III  the  Fiddler,  who  has  been  cast  out  of  the  town  for  his  defense  of  the  King's 
Son  and  the  Goose  Qirl,  is  seen  at  the  Witch's  hut,  feeding  the  doves  the  girl  has  left  behind 
her.  He  lives  here  alone,  the  Witch  having  been  burned  at  the  stake  by  the  people,  who 
declared  she  had  deceived  them  in  her  promise  of  a  new  ruler.  A  troop  of  children  come 
to  beg  the  Fiddler  to  lead  them  in  a  search  for  the  lost  King's  Son  and  his  sweetheart,  and  he 
gladly  consents.  The  Woodcutter  and  the  Broommaker  arrive  and  go  into  the  hut,  and  hardly 

190 


GORITZ    AS    THE    FIDDLEF 


VICTOR    BOOK    OF    THE    OPERA— THE    KING'S    CHILDREN 


has  the  sound  of  the  searching  party  died  away  than  the  King's  Son  and  Goose  Girl  appear. 
They  are  half  famished  and  beg  of  the  Woodcutter  something  to  eat,  and  he  finally  gives 
them  some  poisoned  pastry  which  he  finds  in  the  hut.  The  outcasts  eat  it  and  die,  and 
when  the  Fiddler  and  the  children  return  from  their  useless  search  they  can  only  mournfully 
bear  away  to  the  hills  for  burial  the  bodies  of  the  poor  Kingly  Children. 

KONIGSKINDER  RECORDS   (In  German) 

Lieber  Spielmann    (Dearest  Fiddler) 

Geraldine  Farrar     884O5      12-inch,  $3.OO 
This  is  the  song  of  the  Broommaker's  child,  who 
is  spokesman  for  the  throng  of  children  who  come 
to  the  hut  in  Act  III  to  beg  the  Fiddler  to  lead  them 
in  a  search  for  the  outcasts. 

O  du  liebheilige  Einfalt  du  !  (Thou 
Innocent  One) 

ByOttoGoritz       64184     10-inch,  $1.OO 

This  is  the  Fiddler's  answer  to  the  appeal  of  the 
children  that  he  go  with  them  in  their  search  for 
the  Royal  Pair. 

Ihr  Kindlein  sie  sind  gefunden 

(Children,  We  Have  Found  Them) 

ByOttoGoritz  74287      12-inch,  $1.5O 

Sung  by    the  Fiddler   as    the    searching    party 

return  to  the  hut  and  discover  the  bodies  of  the 

Children. 


noch  das  grosse  Nest     (Hast 
Thou  Forgotten  Our  Nest  ?) 

By  Geraldine  Farrar,  Soprano 
RETURN  TO  THE  HUT—  ACT  in  88412      1  2-inch,  $3.0O 

This  pathetic  bit  occurs  in  the  last  act,  as  the  Goose  Girl  and  King's  Son,  banished  from 
the  city,  wander  in  the  wintry  wood,  cold  and  hungry.  She  recalls  to  his  memory  the  happy 
days  when  he  wooed  her  in  the  leafy  bower. 


3ROUP    OF    CHILDREN ACT    III 

191 


LAKME 

(Lak'-may) 

OPERA  IN  THREE  ACTS 

Book  by  Goudinet  and  Gille,  taken  from  the  story  Le  Manage  de  Loli.  Music  by  Leo 
Delibes  (Deh-leeb').  First  production  Paris,  April  14,  1883.  First  London  production  at 
the  Gaiety  Theatre,  June  6,  1885.  Produced  in  New  York  November  28,  1888. 


Characters 

GERALD,   )  <•  i     r>  •  •  L  •    i  j-  I  Tenor 

FREDERIC,  I  °fficerS  °f  the  BntI8h  afmy  m  IndlS I  Baritone 

NlLAKANTHA,  a  Brahman  priest Bass 

HADJI,  a  Hindoo  slave Tenor 

LAKME,  daughter  of  Nilakantha Soprano 

ELLEN,  daughter  of  the  Governor Soprano 

ROSE,  her  friend Soprano 

MRS.  BENSON,  governess  of  the  young  ladies Mezzo-Soprano 

MALLIKA,  slave  of  Lakm6 Mezzo-Soprano 

A  FORTUNE  TELLER 

A  CHINESE  MERCHANT 

A  SEPOY 

Hindoos,  Men  and  Women,  English  Officers  and  Ladies,  Sailors, 
Bayaderes,  Chinamen,  Musicians,  Brahman,  etc. 


Scene  and  Period :     India,  at  the  present  time. 


The  first  important  American  production  of  this  opera,  with  its  graceful  music  and 
scenes  of  Oriental  splendor,  •was  given  by  the  American  Opera  Company  in  1886,  although 
a  version  was  put  on  by  Emma  Abbot  in  1883.  Since  then  it  has  had  three  revivals — the 
Patti  production  of  1890;  that  of  1895  for  Marie  Van  Zandt,  and  the  Metropolitan  revival 
of  1906-7.  The  music  of  the  opera  is  wholly  beautiful,  and  the  principal  numbers  are 
exquisite  compositions — lovely  in  idea  and  execution. 

The  story  resembles  in  some  points  both  Aida  and  Africaine ;  all  three  are  more  or  less 
Oriental;  La\mi,  like  Aida,  loves  her  country's  enemy;  Nilakantha  and  Nelusko  possess  simi- 
lar traits ;  while  Lakme  and  Selika  both  poison  themselves  botanically. 

The  Oriental  atmosphere  is  somewhat  spoiled  by  the  introduction  of  the  modern  and 
somewhat  commonplace  English  characters,  but  the  romantic  ending  atones  for  any 
shortcomings. 

ACT  I 
SCENE— A  Qarden  in  India 

Nilanfyatha,  Lafynd's  father,  hates  the  English  invaders  and  resists  their  presence  in  India. 
Gerald  and  Frederic,  English  officers,  while  sauntering  with  some  English  ladies,  venture  on 
sacred  ground  near  Nilakantha 's  temple,  and  when  rebuked  they  all  depart  but  Gerald,  who 
remains  to  sketch  some  Oriental  jewels  which  La^me  had  left  in  the  garden.  He  takes  up 
the  trinkets  and  sings  his  charming  air,  Idle  Fancies. 

Fantaisie  aux  divins  mensonges    (Idle  Fancies) 

By  M.  Rocca,  Tenor    (Double-faced— See  page  1 95)   (In French)      16573      10-inch,  $O.75 

He  is  struck  with  the  daintiness  and  beauty  of  the  gems  and  tries  to  picture  the 
unknown  beauty  to  whom  they  belong. 


VICTOR    BOOK     OF     THE     OPER  A—  D  ELIBES'     LAKME 


GERALD: 

Idle  fancy,  cradled  by  delusion, 

You  mislead  me  now  as  of  old. 
Go   to   dreamland,   turn  back  in   confusion, 
Fair   dove   fantastic,    with    wings   of   gold. 

(T6^L?fair6rmaidVound  her  arm  folding, 


The  small  foot,  that  but  reposes 

On  mossy  banks  or  beds  of  flowers. 

Thls    necklace,     too,     with     her     own     perfume 
~  s?e"    ,a;  .  , 

^8  sweets   from   her   lips 


The  hand  that  passes  there,  in  mine. 
(Taking  up  a  ring.) 

This   ring  of  gold,   my   dream   supposes, 
Oft  has  followed,   wand'ring  for  hours, 


A  fly>  fond  illusions, 

Swiftly    passing   visions   that    my   reason    dis- 

turb! 
Idle  fancy,  cradled  by  delusion,  etc. 

(From  the  Ditson  Edition.) 
This  beautiful  air  has  been  sung  for  the  Victor  by 
a  brilliant  and  accomplished  young  tenor,  M.  Rocca,  of 
the  Opera  Comique. 

Hearing  some  one  approaching,  Gerald  hides  himself 
in  the  shrubbery.  Lakme  enters  and  lays  flowers  at  the 
feet  of  an  idol.  She  is  about  to  go  when  she  pauses 
and  tries  to  analyze  a  strange  feeling  which  has  come 
over  her,  saying: 
LAKME: 

In   my   heart   now   I   feel   there's  a   murmur   so 

strange, 

The   flow'rs  are  more  lovely  appearing, 
And  Heaven's  more   radiant  now. 
From  woods  a   new  song  I  am  hearing, 
Fond  zephyrs  caress  my  brow. 
And   a    fragrance    that's    rare   is   filling, 
All   my  senses  with  a  rapture  so  thrilling! 
She  then  sings  her  first  lovely  song, 

Pourquoi  dans  les  grands  bois 
(Why  Love  I  Thus  to  Stray  ?) 

By  Alice  Verlet,  Soprano 

(Double-faced—  See  page  195} 

(In  French)     45OO6     10-inch,  $1.0O 

nder  in  the  forest 


VALLANDRI    AS    LAKME 

LAKME: 

Why  love  I  thus  to  stray, 

In  woods  here,  day  by  day, 

While  tears  have  sway? 

Why   doth   the   dove's  note  sadden, 

And  fill  my  heart  with  sighing; 

As  doth  a  fading  flow'ret, 

Or  a  leaf  eastward  flying? 

Tho'  sad  they  be! 

And  my  heart  is  gladsome, 

Tho'   I'm   sighing,   I'm   gladsome. 


and  asks  herself  why  she  loves  to 
and  why  she  is  both  sad  and  glad. 


Ah!   why? 

Why    look    for    reasons  'here,    in    the    song    of 

the  stream, 
Where   roses   dream? 
In   leaves   that   fall   around? 
In  my  heart  soft  reposes,   like  a  lily  at  rest, 
Sweeter  balm  than  yield  roses,  by  gentle  winds 

caressed, 
Or   by   loving   lips   pressed.      Tho'    I   sigh,    I'm 

gladsome, 
Ah,   why? 


She  suddenly  sees  Gerald  among  the  trees  and  utters  a  cry  of  fear.  Her  attendants  run 
in,  but  some  intuition  tells  her  not  to  reveal  Gerald's  presence,  and  she  sends  them  away. 
Going  to  his  hiding  place  she  denounces  him  for  trespassing  on  sacred  ground,  and  bids 
him  begone.  He  begs  her  for  a  few  moments'  conversation,  and  tells  her  of  the  impression 
she  has  made  on  his  heart. 

GERALD:   Ah!    linger,   go   not   yet,   so  thoughtful,   sweet,  unchiding! 
Let   blushing  charms  that  mine   eyes   now  have  met, 
O'ermantle  thy  cheek, 
Its  lily  pallor  hiding! 

Lakme"  looks  on  the  handsome  youth  with  interest,  but  tells  him  she  fears  the  return  of 
her  father,  who  would  surely  seek  vengeance  for  the  Englishman's  desecration  of  holy 
ground.  Gerald  departs  just  as  Nilakantha,  summoned  by  Lakmd's  attendants,  enters,  and 
seeing  traces  of  a  trespasser,  declares  that  he  must  die.  They  go  in  pursuit  of  Qerald, 
leaving  Latyne'  motionless  with  fear, 


VICTOR    BOOK    OF    THE     OPER  A— D  ELIDES'     LAKME 

ACT  II 

SCENE— A  Street  in  an  Indian  City 

Act  II  shows  a  public  square,  lined  with  Chinese  and  Indian  shops  and  bazaars.  Eng- 
lish visitors  are  strolling  about,  viewing  the  scenes  with  interest.  Nilakantha,  disguised  as  a 
beggar,  is  seeking  traces  of  the  intruder,  whom  he  has  sworn  to  kill.  Lakm€  is  with  him, 
wearing  the  dress  of  a  dancing  girl.  He  orders  his  daughter  to  sing,  hoping  that  the  Eng- 
lishman will  recognize  her  voice  and  betray  himself.  She  sings  the  famous  Bell  Song. 


Ou  va  la  jeune  Hindoue  (Bell  Song) 

By  Luisa  Tetrazzini,  Soprano 
By  Bessie  Abott,  Soprano 
By  Maria  Galvany,  Soprano 
By  Ellen  Beach  Yaw,  Soprano 


(In  Italian)  88297  12-inch,  $3.OO 

(In  French)  88O84  12-inch,     3.OO 

(In  Italian)  88219  12-inch,     3.0O 

(In  French)  74O9O  12-inch,      1.5O 


Delibes  has  ingeniously  used  bells  to  give  character  to  this 
number,  which  is  a  most  intricate  one,  especially  in  the  refrain, 
where  voice,  woodwind  and  bells  blend  with  many  charming 
touches. 


LAKME: 

Down     there,     where     shades     more 

glooming, 

What  trav'ler's  that,  alone,  astray? 
Around    him    flame    bright    eyes,    da 

illuming, 
But  on  he  journeys,  as  by  cha 


deep     are 


depths 
y! 


urneys,  as     y  cance,  on  te 
The  wolves  in   their   wild  joy  are   howling, 
As  if  for  their  prey  they  were  prowling; 
The   young   girl    forward   runs,   and   doth   their 

fury   dare. 

A  ring  in  her  grasp  she  holds  tightly, 
Whence  tinkles  a  bell,   sharply,   lightly, 
A  bell  that  tinkles  lightly,  that  charmers  wear! 
(She  imitates  the  bell.) 
Ah!    Ah!    Ah!    Ah! 
While  the  stranger  regards  her 
Stands  she   dazed,   flush'd   and  glowing, 
More  handsome  than  the  Rajahs,  he! 

And  to  heaven  she  soars  in  his  holding, 

It  was  Vishnu,  great  Brahma's  son! 

And  since  the  day  in  that  dark  wood, 

The  trav'ler  hears,  where  Vishnu  stood, 

The  sound  of  a  little  bell  ringing, 

The  legend  back  to  him  bringing, 

A    small    bell    ringing    like    those    the    charmers 


Mme.  Tetrazzini's  rendition  of  this  beautiful  air  is  -wholly  charming,  and  the  vocal  em- 
bellishments which  she  introduces  will  be  something  of  a  novelty  to  those  who  are  familiar 
only  with  the  usual  cadenzas. 

Other  fine  renditions  of  this  brilliant  air  are  given  by  Mme.  Galvany,  who  indulges  in 
some  quite  astonishing  cadenzas ;  by  Bessie  Abott,  whose  fresh  young  voice  is  heard  to 
great  advantage ;  and  by  Miss  Yaw,  who  provides  a  lower-priced  version. 

As  Nilaffantha  had  planned,  Gerald  recognizes  La^me"  and  betrays  himself.  The  Brahman 
goes  to  collect  his  Hindoos,  intending  to  kill  the  Englishman,  while  L,akm£  finds  Gerald, 
•warns  him  of  the  plot,  and  tells  him  of  a  hut  in  the  forest  where  he  may  be  free  from 
pursuit. 


LAKME: 

In  the  forest  near  at  hand, 
A  hut  of  bamboo  is  hiding, 
'Neath  a  shading  tree  doth  stand, 
This  roof  of  my  providing. 
Like  a  nest  of  timid  birds, 
In   leafy   silence   abiding, 
From  all  eyes  secret  it  lies, 
And  waits  it  there  a  happy  pair! 


Far  away  from  prying  sight, 
Without  there's  naught  to  reveal  it, 
Silent  woods  by  day  and  night, 
Ever  jealously  conceal   it; 
Thither  shalt  thou  follow  me! 
When   dawn  earth  is   greeting, 
Thee  with  smiles  I  shall  be  meeting. 
For  'tis  there  thy  home  shall  be. 


VICTOR    BOOK    OF    THE     OPER  A—  D  ELIBES'     LAKME 


Gerald  at  first  refuses  thus  to  hide,  declaring  it  unworthy  of  a  British  officer,  but  La^me" 
pleads  with  him  and  he  consents  ;  but  as  he  attempts  to  follow  her  he  is  stabbed  by  Nila- 
\antha,  who  then  escapes.  Laf^me  runs  to  Gerald,  and  overjoyed  to  find  his  wound  is  not 
serious,  she  prepares,  with  the  help  of  her  faithful  attendant  Hadji,  to  bear  him  to  the 
forest  retreat. 

ACT    III 

SCENE—  An  Indian  Forest 

Act  III  shows  the  hut  in  the  tropical  forest.  Gerald  is  lying  on  a  bed  of  leaves  while 
Lakme'  watches  over  him,  singing  soothing  melodies.  He  opens  his  eyes  and  greets  her 
•with  rapture,  singing  his  beautiful  In  Forest  Depths. 


Vieni  al  contento  profondo 
(In  Forest  Depths) 

By  John  McCormack,  Tenor 

(In  Italian)     64171      lO-inch.  $1.0O 


This    lovely    cantilena 
style  by  Mr.  McCormack. 


given    in    delightful 


mute, 


er  my  lips;  while  thus  lying, 
'our    look    was    attracted    and 


GERALD : 

I  too  recall, — st 
I  saw  you  bent 
My  soul  upon  you 

fastened; 
'Xeath    your    breath    life    awoke    and    recovery 

hastened. 

O  my  charming  Lakme; 
Through   forest   depths   secluded, 
Love's  wing  above  us  has  passed; 
Earth-cares   have   not   been   intruded, 
And  heaven  on  us  falls  at  last. 
These   flow'ring   vines,    with    blooms  capricious, 
Bear   o'er   our   pathway  scents   delicious; 
Which   soft  hearts,   with   raptures  beset, 
While  all  else  we  forget! 

As  the  days  pass  and  Gerald  recovers  his 
strength,  he  seems  to  forget  all  else  but  his  love 
for  the  Brahman  maiden,  but  one  day,  while  she 
is  absent,  his  friend  Frederic  finds  him  and  urges 
him  to  return  to  his  duty,  telling  him  his  regi- 
ment is  ordered  off  at  once  to  suppress  an  outbreak 

among  the  Hindoos.  Gerald  promises  to  be  at  his  post  in  time,  but  asks  for  a  little  time  in 
•which  to  say  good-bye  to  La^me.  Frederic  leaves  with  his  promise,  and  when  La^me  comes 
back  she  finds  Gerald  changed.  She  asks  the  reason,  but  before  he  can  answer  the  distant 
sound  of  bugles  calling  the  regiment  together  is  heard.  She  sees  by  his  face  that  he  means 
to  go  back  to  his  friends,  and  in  despair  she  eats  some  flowers  of  the  deadly  stramonium 
tree  and  dies  in  his  arms,  just  as  her  father  and  friends  arrive  upon  the  scene. 


DOUBLE-FACED  AND  MISCELLANEOUS  LAKME  RECORDS 

[  Pourquoi  dans  les  grands^bois   (Why  Love_I  Thus  to  Stray  ?)     1 

» 


Mignon — Polonaise 


By  Alice  Verlet,  Soprano     (In  French)  U5OO6      lO-inch.  $1.OO 
By  Mile.  Korsoff,  Soprano     (In  French)  \ 


Fantaisie  aux  divins  mensonges   (Idle  Fancies) 

By  M.  Rocca,  Tenor      (In  French) 
Rigoletto — Cortigiani,   oil  razza  dannata 

By  Renzo  Minolfi,  Baritone      (In  Italian) 


16573     10-inch,       .75 


NOTE — Quotations  are  from  the  Ditson  libretto  by  permissior 

195 


3opy't  1890,  Oliver  Ditson  Co. 


(Italian) 

LINDA  DI  CHAMOUNIX 

OPERA  IN  THREE  ACTS 

Words  by  Rossi ;  music  by  Donizetti.  First  production  at  the  Karnthnerthor  Theatre, 
Vienna,  May  19,  1842;  in  Paris,  November  17,  1842;  in  London  at  Her  Majesty's,  June,  1843; 
in  New  York,  1847. 


Cast 

MARQUIS  OF  BOISFLEURY Baritone 

CHARLES  DE  SIRVAL,  his  son Tenor 

THE  PARISH  PRIEST Bass 

ANTONIO  LOUSTOLOT,  a  farmer Bass 

MADELINE,  his  wife    Mezzo-Soprano 

LINDA,  their  daughter Soprano 


Time  and  Place  :      Chamounix  and  Paris,    1760,  during  the  reign  of  Louis  XV. 


The  story  tells  of  an  aged  couple,  Loustolot  and  Madeline,  and  their  only  daughter  Linda, 
•who  dwell  in  the  valley  of  the  Chamounix  (in  the  French  Alps).  Linda  loves  a  young 
painter,  Charles,  who  has  come  to  the  valley  to  paint  the  mountains.  The  Marquis  de  Sirval, 
who  holds  a  mortgage  on  Loustolot' s  farm,  visits  the  old  couple  and  assures  them  that  he 
will  not  press  the  mortgage ;  but  at  the  same  time  he  is  secretly  plotting  to  effect  the  ruin 
of  Linda. 

Linda  enters  and  speaks  of  her  love  for  Charles.  She  then  sings  the  gem  of  the  first 
act,  a  favorite  with  colorature  sopranos  for  more  than  seventy  years. 

A  Huguet  record  of  this  lovely  air  is  offered  here,  doubled  with  the  Trentini-Caffo 
duet  below. 

O  luce  di  quest'  anima  (Guiding  Star  of  Love !) 

By  Giuseppina  Huguet,  Soprano  (In  Italian)     62O90     lO-inch,  $O.75 

LINDA:  Oh!   star  that  guidest  my  fervent  love, 

Poor  are  we  both   in   worldly   state;  Thou'rt   life  and   light   to   me; 

On  love  we  live, — on  hope  we  dream !  On   earth,   in   Heav'n  above, 

A  painter  yet  unknown,  is  he,  Entwin'd  our  hearts  will  be. 

Yet  by  his  genius  he  will   rise,  Oh,   come,   then,   come,  my  best  belov'd! 

And  I   his  happy  wife  shall  be!   Oh,   what  joy!  My   every  pulse   is   thine! 
Charles  enters,  and  the  lovers  sing  their  charming  duet. 

A  consolarmi  affrettati  (Oh,  That  the  Blessed  Day  Were  Come) 

By  Emma  Trentini, Soprano,  and  Alberto  Caffo,  Tenor        6209O     lO-inch,  $0.75 

LINDA  AND  CHARLES: 

Oh!   that  the  blessed  day  were  come,  And  then,  my  love,  we'll  never  part, 

When  standing  side  by  side,  But  each  a  treasure  find 

We   before   God  and  man   shall   be  In  having  brought  a  faithful   heart 

As  bridegroom  and  as  bride.  To  heav'nly  love  resigned! 

The  worthy  parish  priest  having  warned  Linda's  parents  of  the  dishonorable  Intention 
of  the  Marquis,  they  decide  to  remove  Linda  from  the  danger,  and  send  her  to  Paris. 
The  Marquis  pursues  her  to  the  city  and  renews  his  attentions,  while  Charles  (who  is  in 
reality  the  son  of  the  Marquis)  is  compelled  by  his  father  to  transfer  his  attentions  to  another. 
Linda's  father  comes  to  Paris  in  disguise,  and  discovers  his  daughter.  Believing  her  to  be 
an  abandoned  woman,  he  curses  her,  and  she  becomes  insane  through  grief. 

The  last  act  again  shows  the  little  farm  at  Chamounix.  The  demented  Linda  has  made 
her  way  back  to  her  parents,  and  is  found  by  Charles,  who  has  escaped  the  unwelcome 
marriage  and  now  brings  the  release  of  the  farm  from  debt.  The  sight  of  her  lover  causes 
Linda  to  fall  in  a  death-like  swoon,  but  when  she  recovers  her  reason  has  returned,  and  the 
lovers  are  united. 


LOBETANZ    PLAYING    FOR    THE    PRINCESS ACT 


(German) 


LOBETANZ 


(English) 

MERRYDANCE 


MUSICAL  PLAY  IN  THREE  ACTS 

Text  by  Otto  Julius  Bierbaum  ;  music  by  Ludwig  Thuille.  First  production  at  Mann- 
heim, Germany,  1898.  First  production  in  America  November  18,  1911,  with  Gadski, 
Jadlowker,  Witherspoon  and  Murphy. 


Cast 

LOBETANZ 

THE  PRINCESS 

THE  KING 

THE  FORESTER, 
THE  HANGMAN, 
THE  JUDGE, 

Girls,  musicians,  prisoners,  two  heralds,  the  people. 


Tenor 

.  Mezzo-Soprano 
Bass 

.  Speaking  Parts 


Time  and  Place  :  Germany  in  the  Middle  Ages. 


The  story  of  Lobetanz  resembles  an  old  fairy  tale  in  its 
simplicity,  the  Prince  Charming  in  this  instance  being  a  •wander- 
ing musician,  and  the  ending,  as  in  all  good  fairy  stories,  being 
of  the  "  lived-happy-ever-after  "  variety. 

The  curtain  rises  on  a  rose  fete,  which  young  girls  are  pre- 
paring in  anticipation  of  the  arrival  of  the  King  and  his  daugh- 
ter. The  Princess  is  ill,  and  the  King  has  appointed  a  day 
of  festivity  in  the  hope  that  it  will  revive  her.  Lobetanz,  a 
wandering  musician,  strolls  into  the  King's  rose  garden,  where 
the  preparations  are  being  made,  and  stays  to  watch  the  royal 

197 


VICTOR    BOOK    OF    THE    OPER  A-TH  UI  LLE'S    LOBETAKZ 


procession,  -which  is  accom- 
panied by  poets  and  singers. 
The  musicians  play  and  sing 
to  the  Princess,  but  all  their 
efforts  fail  to  please  her.  Sud- 
denly a  violin  is  heard  from 
an  arbor  in  the  rear  of  the 
garden.  The  Princess  is  im- 
mediately fascinated  with  the 
music,  and  Lobetanz  comes 
forward,  his  instrument  on 
his  shoulder.  The  pathos  of 
his  playing  so  affects  the 
Princess  that  she  swoons,  and 
Lobetanz  barely  escapes  from 
the  wrath  of  the  people. 

In  the  second  act  the 
strolling  minstrel  meets  the 
Princess  in  a  wood  and  tells 
her  of  his  love  for  her.  The 
lovers  are  interrupted  by  the 

THE    GALLOWS    SCENE  ^j^j     Qf     ^     ^     ^J     ^ 

royal  hunting  party,  and  Lobetanz  is  seized  by  the  pikemen  and  dragged  away,  while  the 
Princess  falls  in  a  swoon. 

The  third  act  shows  the  unfortunate  lover  in  prison,  charged  with  witchcraft,  and  sen- 
tenced to  be  hanged.  As  preparations  are  being  made  to  place  the  noose  about  his  neck, 
the  funeral  procession  of  the  Princess  approaches.  Lobetanz  begs  to  be  allowed  to  play  upon 
his  violin  once  more,  declaring  he  can  revive  her.  The  King  promises  him  his  daughter's 
hand  if  he  can  bring  her  back  to  life  again.  As  Lobetanz  plays,  the  flush  of  life  appears  upon 
the  cheeks  of  the  young  girl,  and  she  slowly  revives  and  is  clasped  in  her  lover's  arms. 
The  act  closes  with  a  merry  dance,  in  which  every  one  joins,  and  we  are  left  to  suppose 
that  the  lovers  "  live  happy  ever  after." 

The  air  which  Mme.  Gadski  has  sung  for  the  Victor  occurs  in  Act  I,  in  the  scene  rep- 
resenting the  rose  garden  of  the  King,  where  the  rose  festival  is  to  be  celebrated.  The 
Princess,  at  the  bidding  of  the  King,  offers  a  greeting  to  Spring  and  the  roses. 

An  alien  Zweigen  (Lovely  Blossoms  of  Spring) 

By  Johanna  Gadski,  Soprano  (In  German)     88362     12-inch,  $3.OO 


THE    FLOWER   FESTIVAL — ACT    I 


LOHENGRIN 


(Loh1 -en-grin) 

OPERA  IN  THREE  ACTS 

Words  and  music  by  Richard  Wagner.  First  produced  at  Weimar,  Germany,  August 
28,  1850,  under  the  direction  of  Liszt.  Produced  at  Weisbaden,  1853;  Munich  and  Vienna, 
1858;  Berlin,  1859.  First  London  production,  1875;  Paris,  1887.  First  American  production 
in  New  York,  in  Italian,  March  23,  1874,  with  Nilsson,  Gary,  Campanini  and  Del  Puente;  in 
German,  in  1885,  with  Brandt,  Krauss,  Fischer  and  Stritt — this  being  Anton  Seidl's  Ameri- 
can debut  as  a  conductor. 

Characters 
HENRI  THE  FOWLER,   King  of   Germany Bass 

LOHENGRIN Tenor 

ELSA  OF  BRABANT Soprano 

DUKE  GODFREY,  her  brother Mute  Personage 

FREDERICK  OF  TELRAMUND,  Count  of  Brabant . .  Baritone 

ORTRUD,  his  wife Mezzo-Soprano 

THE  KING'S  HERALD Bass 

Saxon,    Thuringian    and    Brabantian    Counts    and 
Nobles,  Ladies  of  Honor,  Pages,  Attendants. 


{ 

Stln.i  1 

3« 

»KI».»  Ici  28  *.(•«  1850 

!zzil?i^- 

iVj 

)  f  "(J  tin. 

P 

,..  ^ 

g-T  - 

t  ':  :  i  1  ?£-"  :  :  :;  :  :.  : 

*ri«4  u  6 

1«»                     HO,  Vv,   10  lite 

-^PiliS^ 

Scene  and  Period :     Antwerp,  first  half  of  the  tenth  century. 


Most  of  us  are  familiar  with  the  story  of  the  Knight 
Lohengrin,  who  comes  in  his  boat,  drawn  by  a  swan,  to 
defend  Elsa  from  the  charge  (preferred  by  Telramund  and 
Ortrud,  who  covet  Elsa's  estates)  of  having  murdered  her 
young  brother,  Godfrey. 

Telramund  is  vanquished  and  disgraced  by  Lohengrin, 
•who  wins  Elsa  as  his  bride.  One  condition  he  exacts 
from  her — that  she  shall  never  ask  who  he  is  or  whence  he 
came.  By  the  influence  of  Ortrud,  however,  she  rashly 

questions   him,  and  in    fulfillment  of   his  vow,  but  in 

deep    grief,    he    leaves    her    and    departs    in    his  boat 

drawn  by  a  dove.     The  ethereal  Grail  harmonies,  the 

lovely  Swan  Motive,  the  noble  Prayer  of  the  King  and 

the  Bridal  Chorus  make  this  one  of  the  most  melodious 

of  all  the  master's  operas. 

Prelude 

By  La  Scala  Orchestra  31779  12-inch,  $1.OO 
The  prelude,  one  of  the  most  beautiful  of  all 
Wagner's  compositions,  symbolizes  the  descent  from 
Heaven  of  a  group  of  angels  bearing  the  Holy  Grail. 
The  number  begins  with  soft  A  major  chords  in  the 
highest  register  of  the  violin.  The  motive  of  the  Grail 
is  then  announced  : 


Coming  nearer  and  nearer,  the  light  of  the  Grail  is  seen 
in  the  sky,  while  the  air  is  filled  with  the  blessings  dis- 
pensed by  the  holy  cup.  As  the  sounds  grow  louder, 
the  senses  are  overwhelmed,  until  at  the  tremendous 
climax  thundered  out  by  the  full  orchestra  the  mystic 
light  of  the  Grail  is  seen  in  all  its  glory. 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    LOHENGRIN 


The  mysterious  Grail  motive  then  fades  away,  being  played 
at  the  end  by  muted  strings ;  and  the  number  ends  with  the 
same  A  major  chords  pianissimo. 

ACT  I 

SCENE— Banks  of  the  Scheldt,  near  Antwerp 

King  Henry  of  Germany  arrives  at  Antwerp  and  finds 
Brabant  in  almost  a  state  of  anarchy.  He  summons  the  counts 
and  nobles  of  Saxony  and  Brabant  to  meet  under  the  Oak  of 
Justice,  and  calls  on  Frederick  °f  Telramund  for  an  explanation, 
saying : 

KING.  Here,  to  my  grief,   I  meet  with  naught  but  strife, 
All  in  disunion,   from  your  chiefs  estranged! 
Confusion,  civil  warfare  meet  we  here. 
On   thee   I   call,    Frederick   of  Telramund! 
I  know  thee  for  a  knight  as  brave  as  true, 
I  charge  thee,  let  me  know  this  trouble's  cause. 
Frederick  now    advances  and  begins   his   narrative,  boldly 
accusing  Elsa  of  the  murder  of  her  brother. 

FREDERICK: 

Thanks,  gracious  King,  that  thou  to  judge  art  come! 
The  truth  I'll  tell  thee,  falsehood  I  disdain. 
When  death  was  closing  round  our  valiant  Duke, 
'Twas  me  he  chose  as  guardian  of  his  children, 
Elsa  the  maiden,  and  Gottfried  her  brother; 
Whose  dawning  with  tender  care  I  guarded, 
Whose  welfare  I  have  treasured  as  my  honor. 
My  sov'reign,  mark  now,  if  I'm  aggrieved, 


S    TELRAMUNI 


When    of   my    honor's   treasure    I    am 

robbed! 
One    day,    when    Elsa    had    with    her 

brother   wandered    forth, 
Without    the    boy,    trembling,    she    re- 
turned, 
With  feign'd  lamenting,  questioned  of 

his  safety, 
Pretending    she    had    been    from    him 

divided, 
And     in     vain     his     traces     she     had 

sought, 
Fruitless    was    every   search    we    made 

to  find  him; 
And     when     I     questioned     her     with 

words   severe, 
Her    pallor    and    her    falt'ring    tongue 

betray'd  her, 
Her     crime     in     its     guilty     blackness 

stood  confess'd! 

A   horror   fell   upon   me   of   the   maid; 
The   claim   upon   her   hand   her   father 

had  conferr'd 

With     willing     heart,     I     straight     re- 
signed. 
And  chose  a  wife  full  pleasant  to  my 

sense, 
Ortrud,    daughter   of   Radbod,   true   in 

death. 
I   here   arraign    her,    Princess   Elsa   of 

Brabant; 

Of  fratricide  be  she  charged! 
I    claim    dominion    o'er    this    land    by 

right ; 

nearest   kinsman    was   the 


vali 


My    near 

Duke, 

My  wife  descended  of  the  race 
That  gave  this  land  their  rulers  th 

long  ages  p 

King,  give 

hast  heard! 


long  ages  past. 
O  King,  give  judgment!    All  now  thou 


ELSA    RELATING    HER   DREAM 


VICTOR    BOOK    OF    THE    OPERA-WAGNER'S     LOHENGRIN 


The  King  is  much  disturbed,  and 
asks  that  Elsa  be  sent  for.  When 
she  enters  timidly,  with  downcast  eyes, 
he  says  kindly  :  "  Speak,  Elsa,  in  thy 
King  thou  may'st  confide  !  " 

The  young  girl  seems  bewildered 
and  dreamily  sings  the  lovely  Traum, 
telling  of  her  vision  of  a  splendid 
Knight  who  came  to  be  her  defender. 

Elsa's  Traum 
(Elsa's  Dream) 

By  Johanna  Gadski,  Soprano 

(German)   88O38    12-in.,  $3.OO 
By  Emma  Juch,  Soprano 
(Piano  ace.)      (In  German) 

74014     12-inch,     1.5O 
ELSA:    Oft  when   the  hours   were  lonely, 
I   unto   Heav'n   have   pray'd, 
One  boon   I  ask'd  for  only, 
To   send  the   orphans  aid; 
Away  my  words  were   wafted, 
I  dreamt  not  help  was  nigh, 
But  One  on  high  vouchsafe!  it, 
While  I  in  sleep  did  lie. 
(with  growing  enthusiasm) 
I  saw  in  splendor  shining, 
A  knight  of  glorious  mien, 


On   me   his   eyes   inclining, 
il   gaze   serene. 
A   horn   of  gold  beside  him, 


With  tranquil   gaze   ser 


He  leant  upon  his  sword, 
His  words  so   low  and  tender, 
Brought  life  renew'd  to  me. 
(with  rapture) 
My   guardian,   my   defender, 
Thou   shalt   my   champion   be. 
The    King    is   much    moved,   and 
calls  for  a  judgment  of  God  after  the 

fashion  of  the   time.     The  trumpeters  blow  the  summons  to  the  four  points  of  the  compass, 
and  the  Herald  calls  : 

Who   will    do    battle   here    for    Elsa  of  Brabant!     Let  him  appear! 

At  first  there  comes  no   response,   and  Elsa    is  in    despair,   but   after   a    second  call    a 
knight  in  shining  armor  is  seen  approaching  in  a  boat  drawn  by  a  swan. 

201 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    LOHENGRIN 


ARRIVAL    OF    LOHENGRIN 

The  King  bids  the  nobles  pre- 
pare to  fight,  and  in  this  noble 
Gebet  calls  upon  Heaven  to  judge 
between  the  combatants. 

Mein  Herr  und  Gott — 
Koenig's  Gebet 
(King's  Prayer) 

By  Marcel  Journet,  Bass 

(In  German) 

64013  10-inch,  $1.0O 
The  King  is  one  of  Journet's 
best  parts,  and  he  always  sings  it 
magnificently,  his  great  voice  rolling 
out  in  tremendous  volume.  His 
delivery  is  always  easy  and  grace- 
ful, and  his  acting  dignified  and 
intelligent. 
KING  HENRY: 

O   King  of  kings,  on  Thee  I  call ; 
Look    down     on    us    in    this    dread 

hour! 

Let  him   in   this   ordeal   fall 
Whom    Thou    know'st    guilty,    Lord 

of  pow'r! 
To     stainless     knight    give     strength 

and  might, 
With     craven     heart    the    false    one 

smite; 
Do  Thou,  O  Lord,  to  hear  us  deign, 

Frederick  is  soon  stricken  to 
the  earth  by  Lohengrin,  who  is  pro- 
claimed a  hero.  Elsa  is  pro- 
nounced innocent,  plights  her  troth 
to  her  brave  defender,  and  the  cur- 
tain falls  amid  general  rejoicing. 


Nun  sei  bedankt,  mein 
lieber  Schwan !  (Thanks, 
My  Trusty  Swan !) 

By  Fernando  de  Lucia,  Tenor 

(In  Italian)      76OO2      12-inch,  $2.OO 

By  Leo  Slezak,  Tenor 

(InGerman)     612O3      lO-inch,      l.OO 
Lohengrin  steps  out,  then  turning  and  caress- 
ing the  swan,  sings : 
LOHENGRIN: 

I  give  thee  thanks,  my  faithful  swan! 

Turn  thee  again  and  breast  the  tide, 

Return   unto  that  land  of  dawn 

Where  joyous   we   did  long  abide, 

Well  thy  appointed  task  is  done! 

Farewell !  farewell !  my  trusty  swan ! 

(to   the  King) 

Hail,   gracious  sov'reign ! 

Victory  and  honor  by  thy  valor's  meed! 

Thy  glorious   name   shall   from  the   land 

That  chose  thee  ruler,  ne'er  depart. 

The  knight  now  announces  that  he  has 
come  to  defend  the  maiden,  who  is  unjustly 
accused  by  her  enemy. 

LOHENGRIN; 

Ye  knights,  nobles  and  freemen  of  this  land, 
Guiltless  and  true  is  Elsa  of  Brabant! 
Thy  tale   was   falsehood,   Count  Telramund, 
By  Ileav'n's  assistance  all  thou   shalt  recant! 


VICTOR    BOOK    OF    THE    O  PERA  —  WAG  N  E  R'S    LOHENGRIN 


THE    PLOT 


Euch  luften  du  mein  Klagen 
(Ye  Wandering  Breezes) 

By  Johanna  Gadski,  Soprano 

(In  German)  88377    12-in.,  $3.OO 
ELSA: 

Ye   wand'ring   breezes   heard  me, 

When  grief  was  all   I  knew; 
Now  that  delight  hath  stirred  me, 

My  joy   I'll   breathe  to  you! 
TELRAMUND  AND  ORTRUD: 

'Tis     she!       Be     near,     ye    powers    of 

darkness! 
ELSA   (continuing  dreamily)  : 

Thro'  heaven's  azure  ye  bore  him, 

Ye   wafted   him   to   me; 
'Mid  stormy  waves  watched  o'er  him, 

My  guide,  my  love  to  be! 
Where'er  thy  pinion  rusheth, 

The  mourner's  tears  are   dried; 

My  cheek  that  burns  and  flushetb 

With  love,   oh  cool   and  hide! 

Du    Aermste    (Thou   Un- 

One)    By  Emma  Eames 
Louise  Homer     <In  German) 

89021  12-inch,  $4.OO 
Elsa,  who  has  finished  her  raptur- 
ous soliloquy  to  the  wandering  breeze, 
still  lingers  on  the  balcony,  enjoying  the 
balmy  night  and  dreaming  of  her  be- 
trothal on  the  morrow.  Ortrud,  pursuing 
the  plot  agreed  upon  with  Frederick, 
appears  and  calls  to  E/sa,who  hearing 
her  name,  cries : 

Who   calls?      How   strangely 
My   name    resoundeth   thro'   the   night! 
Ortrud  feigns  repentance,  and   Elsa,  in  her 
Unhappy    one,    that    thy    heart    could    know 

the  treasure 
Of  love   that  knows  not  fear  or  doubt! 


ACT  II 

SCENE— Court   of  the  Palace 

This  scene  shows  the 
inner  court  of  the  palace  at 
Antwerp.  It  is  night.  Fred- 
erick and  Ortrud,  disgraced  and 
dressed  in  sombre  garments, 
are  seated  on  the  church 
steps.  They  upbraid  each 
other,  Frederick  accusing 
Ortrud  of  inventing  the  story 
of  Elsa's  crime.  A  long  duet 
follows,  ending  in  a  terrible 
plot  for  vengeance. 

Elsa  appears  on  the  bal- 
cony of  the  palace,  all  un- 
conscious of  the  wretched 
and  disgraced  Telramund  and 
Ortrud,  who  are  hidden  in  the 
shadow.  In  a  blissful  reverie, 
the  young  girl  sings  to  the 
soft  breezes  of  the  knightly 
Lohengrin,  to  whom  she  is 
now  betrothed. 


new-found  happiness,  forgives  her,  saying: 

No  child  of  earth   that  bliss  can   measure 
Who  doth  not  dwell  in  faith   devout! 
Rest  thee  with  me! 


VICTOR  BOOK  OF  THE  OPERA— WAGNER-S  LOHENGRIN 


THE    KING    DENOUNCING    TELRAMUN 


Ortrud  warns  Elsa  against  trusting  her  husband  too  blindly,  hinting  of  the  mystery 
in  his  life,  and  thus  plants  a  seed  of  suspicion  in  the  young  girl's  heart.  The  duet 
then  follows : 


ELSA: 

Oh,  let  me  teach  thee 

How  trust  doth  hallow  joy  and  love. 

Turn,  then,  to  our  faith,  I  beseech  thee, 

Oh,  turn  unto  our  faith  divine, 

For  God  is  love! 


ORTRUD   (aside — with  fierce  joy)  : 

Oh!  pride  of  heart,   I  yet  will  teach  thee, 

That  an  illusion  is  this  love, 

The   gods   of   vengeance   soon   shall    reach 

thee, 
Their  wrath-destroying  thou  shall  prove! 


Elsa  enters  the  palace  and  Telramund  renews  his  vow  of 
imprecation. 

Day  breaks,  and  the  Herald  appears  and  announces  the 
banishment  of  Telramund.  Elsa,  attended  by  her  ladies,  passes 
on  her  way  to  the  minster  but  is  suddenly  confronted  by 
Ortrud,  who  has  arrayed  herself  again  in  splendid  garments. 
She  taunts  Elsa  with  the  fact  that  her  knight  has  no  name. 

ORTRUD: 

Your    stranger,    say,    as    what    doth    thou 

proclaim   him? 
If    I    have    heard    aright,    thou    canst    not 

name  him! 

ELSA   (indignantly) : 

Thou   slanderer,   taunt  me  no  more,  • 

Let  my   reply   all   doubts  assure — 

So  pure  and  noble  is  his  nature, 

As  none  can  match  in  high  renown. 

Oh,  can  there  live  so  vile  a  creature 

As  to  asperse   all   honor's  crown? 

The  King  and  Lohengrin  now  enter  and  Elsa,  astonished  and 
grieved,  goes  to  Lohengrin,  saying : 


ELSA: 

My    champion!     shelter    me    against     her 

wrath! 

Blame  me,  if  I  obey'd  not  thy  command; 
I     heard     her     weeping     sore     by     yonder 

portal, 


And     in     compassion     harbor'd     her     this 

night, 
And  now  with  harsh  and  bitter  words  of 

hatred 
She  taunts  me  for  my  boundless  trust 

in  thee! 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    LOHENGRIN 


ACT   III 

SCENE  I  -The  Bridal  Chamber  in  the  Palace 
The  act  opens  with  the  Wedding  March,  played  by  the  orchestra. 

Prelude  to  Act  III— The  Wedding  March 

By  La  Scala  Orchestra  *62693     10-inch,  $0.75 

This  is  followed  by  the  beautiful  Bridal  Chorus,  one  of  the  loveliest  numbers  in  the 
opera.  As  the  curtain  rises,  showing  the  bridal  chamber,  the  strains  of  the  march  continue, 
but  in  a  softer  mood.  The  great  doors  at  the  back  open,  and  the  bridal  party  enters, — 
the  ladies  leading  Elsa  and  the  King  and  nobles  conducting  Lohengrin, — they  come  to  the 
front  and  the  chorus  begins : 


CHORUS: 

Faithful  and  true,   we  lead  thee  forth 

Where  Love,  triumphant,  shall  crown  ye  with  joy! 

Star   of   renown,    flow'r   of   the   earth, 

Blest  be  ye  both  far  from  all  life's  annoy! 

Champion  victorious,   go  thou  before! 

Maid  bright  and   glorious,   go   thou  before! 

Mirth's  noisy   revel  ye've   forsaken, 

Tender  delights  for  you  now  awaken; 

Fragrant   abode   enshrine  ye   in  bliss; 

Splendor  and  state  in  joy  ye  dismiss! 
EIGHT  LADIES  (passing  around  the  bridal  pair) : 

As  solemn  vows  unite  ye 

We  hallow  ye  to  joy! 

This  hour  shall  still  requite  ye, 

When  bliss  hath  known  alloy! 

After  a  striking  and  effective  modulation  the 
first  strain  is  repeated  by  the  full  chorus. 

Faithful  and  true,  now  rest  you  here. 

Where  Love,  triumphant,  etc. 

The  party  goes  slowly  out,  leaving  the  bridal 
pair  alone,  while  the  strains  of  the  nuptial  air  die 
away  in  the  distance. 

The  full  strength  of  the  Victor  organization  has 
been  used  for  the  vocal  rendition,  and  the  result  is  a 
record  of  surpassing  beauty.  An  instrumental  record 
of  this  number  is  also  offered. 


HOMER    AS    ORTKUD 

~Double-Faced  Record,— See  page  207. 


Bridal  ChorUS  '      WAGNER'S   OWN    HANDWRITING 

By  Victor  Opera  Chorus 

(In  English)      31846      12-inch,  $1.OO 

By  Arthur  Pry or's  Band  31227     12-inch,     1.00 

By  La  Scala  Chorus   (In  Italian)   *16537     10-inch,       .75 
The  bridal  pair  are  left  alone  and  a  long  duet  occurs,  part  of 
which  is  recorded  here  by  two  famous  artists  of  La  Scala. 

Cessero  i  canti  alfin  (The  Song  Has  Died  Away) 

By  Giuseppina  Huguet,  Soprano;  Fernando 

de  Lucia,  Tenor  (In  Italian)     92O55     12-inch,  I3.OO 
The  beautiful  air  which  Lohengrin  sings  in  the  duet,  Dost  Thou 
Breathe  the  Incense,  is  also  given  here  by  Dalmores. 

Athmest  du  nicht  mit  mir  die  siissen  Diifte  ? 
(Dost  Thou  Breathe  the  Incense  Sweet  ?) 

By  Charles  Dalmores,  Tenor 

(In  German)      87O88      lO-inch.  $2.0O 

This  duet  is  scarcely  over  when  the  poison  instilled  in  Elsa  'a 
mind  by  Ortrud  causes  her,  in  violation  of  her  promise,  to  question 


205 


VICTOR     BOOK    OF    THE     OPERA— WAGNER'S     LOHENGRIN 


Lohengrin  as  to  his  name  and  origin.  He 
remonstrates  with  her,  at  first  gently  and 
then  •with  authority,  reminding  her  that 
she  has  promised  not  to  ask  his  name. 
She  becomes  more  and  more  agitated, 
saying: 

ELSA: 

No,   thou   shalt  not  compel   me   to   trust  by 

words   of    blame- 
No,    not    unless    thou    tell    me    thy    country 
and  thy   name! 

LOHENGRIN  : 

Elsa,  oh,  I  conjure  thee! 

ELSA: 

What  fatal  spell  is  thine? 

In  vain  wouldst  thou  assure  me — 

Declare  thy  race  and  name ! 

They  are  interrupted  by  the  entrance 
of  Frederick  and  four  associates,  who  break 
in  with  drawn  swords.  Elsa  shrieks  and 
hands  Lohengrin  his  sword,  with  which 
he  strikes  Frederick  dead.  The  nobles 
surrender,  and  Elsa  falls  senseless  in 
Lohengrin's  arms.  After  a  long  silence, 
Lohengrin  orders  the  body  into  the  Judg- 
ment Hall,  and  gives  Elsa  in  charge  of 
her  ladies. 

SCENE  II— Same  as  Act  I 
A  quick  change  of  scene  shows  again 
the  banks  of  the  Scheldt  at  Antwerp,  as 
in  Act  1.  The  King  and  his  nobles  await 
the  coming  of  Lohengrin,  who  is  to  ac- 
company them  to  battle.  They  are 
startled  by  the 


TELRAMUND 


PROCESSION  — 


entrance     of      the 
nobles   bearing   th 


Lohengrin    enters    and    is 


DALMORES   AS    LOHENGRIN 


body    of    Telramund. 
greeted  by  the  King  with  warmth : 

KING: 

Hail,   heav'n-sent  hero,   welcome   here! 

Thy  loyal  vassals  all  are  near, 

Waiting  for  thee  to  give  the  word, 

And  fight  by   thy  all-conq'ring  sword. 

All  are  surprised  when  the  knight  announces  that  he  is  forced  to  de- 
cline the  command  of  the  expedition,  and  tells  of  the  attempt  on  his  life. 
LOHENGRIN: 

My  gracious  sov'reign,   bear  me  blameless, 

Reasons  have  I  that  must  be  nameless, 

The  destin'd  campaign  I  suspend! 

To  lead  ye  forth  to  battle  here  I  came  not; 

But  judge  me,   for  your   leniency   I   claim  not. 

Then,  firstly,  do  ye  hold  that  I  am  guilty? 

Your  just  decree  to  me  is  due. 

He   sought  my   life  despite   honor  and  fealty — 

Say,  did  I  right  when  him  I  slew? 

The  King  declares    Telramund  to   be   justly  slain,  and    Lohengrin 
now  reveals  with  reluctance  that  Elsa  has  broken  her  promise. 
LOHENGRIN: 

And  further,   I  declare  in  face  of  Heav'n, 

Though  bitter  grief  to  me  it  bode, 

That  from  her  fair  allegiance  hath  been  driven 

The  wife  that  Heav'n  on  me  bestow'd. 
MEN  : 

Elsa!   say,   oh,   what  hast  thou   done? 

Sentence  so  stern  how  hast  thou  won? 
LADIES: 

Woe  is  thine,  Elsa! 

208 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S     LOHENGRIN 

LOHENGRIN:  Vainly  I  hop'd  she  would  fulfil  her  task! 

Ye  all   have  heard  her  give  her  word  in  token  Now  mark  me  well,  I  will  no  more  withhold  it, 

That    she    my    name    and   country    ne'er    would  Nor  have  I  cause  to  shrink  from  any  test; 

ask:  When  I  my  name  and  lineage  have  unfolded 

That  promise  her  impatient  heart  hath  broken —  Ye'll  know  that  I  am  noble  as  the  best! 

Then  follows  the  great  narrative  of  Lohengrin,  one  of  the  most  dramatic  declamations 
in  all  opera. 

Lohengrin's  Narrative — In  Fernem  Land  (In  Distant  Lands) 

By  Herman  Jadlowker,  Tenor  (In  German)      76O26      12-inch,  $2.OO 

By  Evan  Williams,  Tenor  (In  English)     74130     12-inch,     1.5O 

LOHENGRIN: 

In   distant  land,  by  ways  remote  and  hidden, 

There  stands  a  mount  that  men  call  Monsalvat; 

It  holds  a  shrine,  to  the  profane  forbidden: 

More  precious  there  is  nought  on  earth  than  that, 

And  thron'd  in  light  it  holds  a  cup  immortal, 

That  whoso  sees  from  earthly  sin  is  cleans'd; 

'Twas  borne  by  angels  thro'   the   heav'nly  portal — 

Its  coming  hath  a  holy  reign  commenc'd. 

Once  every  year  a  dove  from  Heav'n  descendeth, 

To  strengthen  it  anew  for  works  of  rrace; 

'Tis  called  the  Grail,  the  pow'r  of  Heav'n  attendeth 

The  faithful  knights  who  guard  that  sacred  place. 

He  whom  the  Grail  to  be  its  servant  chooses 

Is  armed  henceforth  by  high  invincible  might; 

All  evil  craft  its  power  before  him  loses, 

The  spirits  of  darkness  where  he  dwells  take  flight 

Nor  will  he  lose  the  awful  charm  it  blendeth, 

Although  he  should  be  called  to  distant  lands, 

When  the  high  cause  of  virtue  he  defendeth: 

While  he's  unknown,   its  spell   he  still  commands. 

By  perils  dread  the  holy  Grail  is  girded, 

No  eye  rash  or  profane  its  light  may  see; 

Its  champion  knight  from  doublings  shall  be  warded, 

If  known  to  man,  he  must  depart  and  flee. 

Now  mark,  craft  or  disguise  my  soul    disdaineth, 

The  Grail  sent  me  to  right  yon  lady's  name; 

My  father,   Percival,   gloriously  reigneth, 

His  knight  am  I,  and  Lohengrin  my  name! 

After  this  amazing  narrative,  which  causes  a  great  stir  among  the  people,  the  swan 
appears  to  conduct  Lohengrin  away. 

LADIES  AND  MEN:  LOHENGRIN: 

While  I  hear  him  the  wondrous  tale  revealing,         Too   long  I   stay — I  must  obey  the  Grail! 
The   holy   tears  adown   my   cheek  are   stealing!         My   trusty   swan!      O   that   this  summons   ne'er 
ELSA-.  had  been! 

'Tis  dark  around  me!      Give  me  air!  Oh    that  this  day  I  ne'er  had  seen! 

Oh,    help,   help!   oh,   me,   most  wretched!  L?011*!!  the  Ta-r  wouldtjso?n  be  °  er,, 

T  nc         /•  •  \  When  thy  probation  would  have  pass  d; 

LADIES  AND  MEN    (in  great  excitement) :  Then  b      th     G     .,,     transcendentp  pow'r, 

The   swan!   the   swan !   the   swan!  In  thy  t'rue  sh         we>(1  meet  at  lastf 

The  stream  he  floateth  down.  Oh     E]         think    what    j          th      doubts    have 

The  swan!   ah,  he  comes!  ended! 

ELSA   (half -fainting):  Couldst    thou    not    trust    in    me    for    one    short 

Oh,  horror!   ah,  the  swan!  year? 

Orlrud,  in  triumph,  now  reveals  the  fact  that  the  swan  is  really  Elsa's  brother,  whom 
she  had  transformed  by  magic.  Lohengrin  kneels  in  prayer,  and  as  the  dove  of  the  Grail  is 
seen  descending,  the  swan  sinks,  and  Gottfried,  the  young  Duke,  arises,  restored  to  human 
form.  Lohengrin 's  boat  is  drawn  away  by  the  dove  as  Elsa  faints  in  her  brother's  arms. 


DOUBLE-FACED  AND  MISCELLANEOUS   LOHENGRIN  RECORDS 

Selection,  No.  1  By  Sousa's  Band     31425  12-inch,  $1.OO 

/Selection.  No.  1  By  Sousa's  Bandl  „,. .  A  .  -   .     «        .  ,- 

\     Flower  Song     (Blumenlied)  By  Victor  Sorlin,   'Cellist } 351  12-mch,     1.25 

Selection,  No.  2  By  Pryor's  Band 


Meditation  from    Thais — Intermezzo  Religieuse 


35147     12-inch,     1.25 


By  Howard  Rattay,   Violinist 
Prelude,  Act  III  By  La  Scala  Orchestra  \  ,0,0™  •     . 

Walkiire—Caoalcata  By  La  Scala  Orchestra  /  °" 

Coro  delle  nozze   (Bridal  Chorus)  By  La  Scala  Chorus  \  ,  -.  ,„_     ,  ~   •     t 

Tannhauser— Pilgrims '  Chorus  By  Pryor  's  Band]  1 653  7        0-inch, 


207 


3E    OF    JULIEN    AND    LOUISE    AT     MONTMARTRE ACT    II 


LOUISE 

OPERA  IN  FOUR  ACTS 

Words  and   music    by  Gustave   Charpentier.      First    presented    at    the    Opera    Comique, 
Paris,   February  2,    1900.     First  American  production  at  the  Manhattan  Opera  1908. 


Characters 
LOUISE Soprano 

HER  MOTHER Contralto 

HER  FATHER Baritone 

JULIEN,  an  artist Tenor 

Girls  at  the  Dressmaking  Establishment,  Street  Peddlers,  People,  etc. 


Scene  and  Period :  Paris  ;   the  present  time. 


Charpentier's  first  opera,  Louise,  is  a  romance  of  bohemian  Paris.  The  story  tells  of 
Louise,  a  beautiful  young  girl  engaged  in  a  dressmaking  establishment.  Julien,  a  romantic 
artist,  falls  in  love  with  the  maiden,  and  soon  finds  his  love  returned.  The  mother  and 
father  of  Louise  disapprove  of  the  gay  young  artist,  but  Julien  will  not  give  up  his  sweetheart, 
and  implores  her  to  leave  her  hard  work  and  go  with  him  to  a  little  home.  Louise  at  first 
steadily  refuses,  knowing  how  her  parents  would  grieve,  but  Julien  persists,  tempts  her  with 
visions  of  a  bright  future  with  him,  and  at  last,  unable  to  resist,  the  young  girl  goes  with 
him  to  Montmartre. 

Here  she  falls  in  with  a  merry  company  of  true  Parisian  bohemians,  who  crown  her  as 
the  Queen  of  Revels.  In  the  midst  of  a  gay  party  her  mother  appears,  begging  the  young 
girl  to  return  to  her  father,  who  is  ill.  Louise  is  filled  with  remorse  and  returns  to  her  home, 
trying  all  the  while  to  forget  the  gay,  happy  life  she  has  left  at  Montmartre.  Her  father 
reproaches  her  for  her  conduct,  and  Louise,  remembering  only  the  kindness  and  tenderness 
of  Julien,  rushes  out  into  the  night  and  hastens  back  to  the  protection  of  her  lover. 

The  Victor  offers  two  fine  records  of  the  lovely  Depuis  le  jour,  sung  by  Louise  in  the 
garden  at  Montmartre  in  Act  III.  The  young  girl  tells  Julien  how  happy  she  has  been  since 
they  came  to  the  cottage,  comparing  her  life  with  him  to  the  dreary  one  she  had  left. 

Depuis  le  jour  (Ever  Since  the  Day) 

By  Alma  Gluck,  Soprano  (In  French)     74252      12-inch,     $1.5O 

By  Florence  Hinkle,  Soprano  (In  French)      7O085      12-inch,       1.25 

208 


(Italian) 

LUCIA  DI  LAMMERMOOR 

(Loo-chee'-ah  dee  Lah' -mair-moor) 
(English) 

LUCY  OF  LAMMERMOOR 


OPERA  IN  THREE  ACTS 

Text  by  Salvator  Cammerano,  derived  from  Scott's  novel,  "The  Bride  of  Lammermoor." 
Music  by  Gaetano  Donizetti.  First  production  at  Naples,  September  26,  1835.  Performed 
in  London,  April  5,  1838;  Paris,  1839;  New  York,  in  English,  at  the  Park  Theatre.  1843;  and 
in  Italian,  1849. 


Characters 

HENRY  ASHTON,  of  Lammermoor.  . 

LUCY,  his  sister 

SIR  EDGAR,  of  Ravenswood 

LORD  ARTHUR  BUCKLAW  

RAYMOND,  chaplain  to  Lord  Ashton 


.  .  Baritone 
.  . Soprano 
....  Tenor 
.  .  .  .Tenor 
....  Tenor 


ALICE,  companion  to  Lucy Mezzo-Soprano 

NORMAN,  Captain  of  the  Guard  at  Ravenswood .  .  Tenor 
Ladies  and  Knights  related  to  the  Ashtons ;  Inhab- 
itants of  Lammermoor  ;     Pages,  Soldiery,  and 
Domestics  in  the  Ashton  family. 


Scene  and  Period :    The  action  takes  place  in  Scotland,  part 

in  Ravenswood  Castle,  part  in  the  ruined  tower  of 

Wolfscrag.       The  time   is   the  close   of 

the  sixteenth   century. 


The  prolific  Donizetti  (1797-1848)  wrote  no  fewer 
than  sixty-three  operas,  the  most  popular  of  these 
being,  of  course,  Lucia  di  Lammermoor.  It  has  long 
been  the  custom  with  a  certain  class  of  critics  to  run 
down  the  old  Italian  school  of  opera  represented  by 

Lucia,  and  talk  about  the  artificiality  of  the  music,  thinness  of  the  orchestration,  etc.  But 
the  public  in  general  pays  very  little  attention  to  these  opinions,  because  they  love  the 
music  of  Lucia,  as  their  grandfathers  did,  and  realize  that  throughout  the  whole  work  there 
runs  a  current  of  tenderness  and  passion,  expressed  in  simple  melody  that  will  ever  appeal 
to  the  heart. 

Let  us  now  forget  the  critics  and  tell  the  simple  and  sorrowful  story,  and  listen  to  the 
melodious  airs  which  have  given  pleasure  to  many  millions  in  the  seventy-six  years 
since  its  production. 

The  plot  of  Lucia  is  founded  on  Sir  Walter  Scott's  novel,  The  Bride  of  Lammermoor. 
Lord  Henry  Ashton,  Lucy 's  brother,  knowing  nothing  of  her  attachment  to  his  enemy,  Edgar 
of  Ravenswood,  has  arranged  a  marriage  between  Lucy  and  the  wealthy  Lord  Arthur,  in  order 
to  retrieve  his  fallen  fortunes.  Learning  that  Lucy  is  in  love  with  Edgar,  he  intercepts  her 
lover's  letters  and  executes  a  forged  paper,  which  convinces  Lucy  that  Edgar  is  false  to  her. 
Convinced  of  her  lover's  perfidy,  and  urged  by  the  necessities  of  her  brother,  she  unwillingly 
consents  to  wed  Sir  Arthur. 

The  guests  are  assembled  for  the  ceremony,  and  Lucy  has  just  signed  the  contract, 
•when  Edgar  appears  and  denounces  Lucy  for  her  fickleness.  Edgar  is  driven  from  the  castle, 
and  the  shock  being  too  much  for  the  gentle  mind  of  Lucy,  she  becomes  insane,  kills  her 
husband  and  dies.  Edgar,  overcome  by  these  tragic  happenings,  visits  the  churchyard  of 
Ravenswood  and  stabs  himself  among  the  tombs  of  his  ancestors. 

209 


VICTOR     BOOK     OF     THE    O  P  E  R  A  — D  ON  I  Z  ETTI 'S     LUCIA 


ACT  I 

SCENE  I — A  Forest  near  Lammermoor 
The  curtain  rises,  disclosing  Norman,  and  followers  of 
Sir  Henry.     Norman  tells  the  retainers  to  watch  carefully  and 
ascertain  who  is  secretly  meeting   Lucy.       In    the    opening 
chorus  they  promise  to  watch  with  diligence. 

Opening  Chorus,  Act  I 

By  La  Scala  Chorus 

(In  Italian)     *62106     10-inch,  $O.75 
Sir  Henry  enters  and  talks  with  Norman  of  his  suspicion 
that  Lucy  has  formed   an    attachment  for  some  unknown 
knight.     Norman  suggests  that  it  may  be  Edgar.     Henry  is 
furious  and  declares  he  will  have  a  deadly  vengeance. 

SCENE  II— A  Park  near  the  Castle 

Lucy  enters,  accompanied  by  her  faithful  attendant, 
Alice.  She  has  come  from  the  castle  to  meet  her  lover,  Edgar ; 
and  while  waiting  for  him,  tells  Alice  of  the  legend  of  the 
fountain,  which  relates  how  a  Ravenswood  lover  once  slew 
a  maiden  on  this  spot. 

Regnava  nel  silenzio  (Silence  O'er  All) 

By  Tetrazzini    (In  Italian)   883O3     12-inch,  $3.OO 
PHOTO  ERMKI  By  Giuseppina  Huguet,  Soprano 

CONSTANTINO  AS  EDGAR  (In  Italian)     *16539      lO-inch,        .75 

Lucy  shudderingly  relates  how  she  once  saw  the  spectre  of  the  murdered  girl,  and  fears 
it  is  an  omen  of  the  future. 


LUCIA: 

Silence  o'er  all  was  reigning 
Dark  was  the   night  and  low'ring, 
And  o'er  yon   fountain   her  pallid   ray 
Yon  pale  moon  was  pouring, 
Faintly  a   sharp  but  stifled  sigh 
Fell   on   my   startled   ear, 


And    straightway   upon    the   fountain's   brink, 

The  spectre   did  a 

But   slow   on   high   its   skeleton   hand, 


appear! 


Threat'ning   it   did   uprear, 

Stood  for  a  moment  immovable, 

Then  vanish'd  from  my  view! 

(Despondently.) 

Oh,   what  horrid  omen  is  this? 

I  ought  to  banish  from  my  heart  this  love, 

But  I   cannot;   it  is  my  life, 

And  comfort  to  my  suff'rinK  soul! 


This  graceful  number  is  given  by  Mme.  Tetrazzini  with 
rare  charm  and  pathos ;  the  concluding  ornamental  passages 
being  sung  with  especial  delicacy,  and  the  beauty  of  the  long 
sustained  A  at  the  close  being  notable.  The  popular-priced 
rendition  by  Mme.  Huguet  is  also  a  very  attractive  one. 

This  is  followed  by  the  second  part, — the  beautiful 
QuanJo  rapita, — 

Quando  rapita  in  estasi  (Swift  as  Thought) 

Graziella  Pareto      (Italian)     76009     12-inch,  $2.OO 

Giuseppina  Huguet  *63172     10-inch,       .75 

also  given  here  by  Mme.  Huguet   and    Mme.  Pareto.      This 

animated  melody  is  well  fitted  to  display  the  brilliant  tones 

of  these  admirable  singers. 

Edgar  appears  and  tells  Lucy  that  he  has  been  summoned 
to  France,  and  proposes  that  he  seek  out  Henry  and  endeavor 
to  end  the  mortal  feud  which  exists  between  the  families. 
Lucy,  knowing  her  brother  only  too  well,  entreats  him  to  keep 
their  love  secret  or  they  •will  be  forever  parted.  Edgar, 
roused  to  fury  by  this  evidence  of  Henry's  mortal  hate,  re- 
news his  vow  of  vengeance,  beginning  a  dramatic  duet. 

*  Double-FaceJ  Record— See  page  2 15. 


LUCY    AND    EDGAR 


VICTOR     BOOK     OF     THE     O  P  E  R  A  — DON  I  ZETTI 'S     LUCIA 
Sulla  tomba  che  rinserra  (By  My  Father's  Tomb) 

By  Emma  Trentini,  Soprano,  and  Gino  Martinez-Patti,  Tenor 

(In  Italian)     *16574     lO-inch,  $0.75 

EDGAR:  LUCY: 

By  the  lone  tomb,  o'er  the  cold  grave  Ah!  pray  calm  thee,  ah,  restrain  thee; 

Where    my   father's  bones   lie   moulding,  Think  what  misery  will  soon  enthral  me; 

With   thy   kindred   eternal    warfare  I   can   scarce  from   fear  sustain   me; 

To  the  death  I   swore  to  wage!  Would'st  thou  have  me  die  from  terror? 

Ah!   when  I  saw  thee  my  heart  relented:  Yield     thee,     yield     thee     to     the     dictates     of 

Of  my  dark  vow  I  half  repented;  affection, 

But   my   oath   remains   unbroken,  'Tis  a  nobler,  purer  passion, 

Still  I've  power  to  redeem  my  gage!  Let  that   thought  thy   rage   assuage! 

Edgar  now  says  that  he  must  go,  and  in  a  tender  duet,  which  closes  the  act,  the  lovers 
bid  each  other  farewell. 

Verranno  a  te  sull'  aura  (Borne  on  Sighing  Breeze) 

By  Alice  Nielsen,  Soprano,  and  Florencio  Constantino,  Tenor 

(In  Italian)        74064      12-inch,  $1. SO 

By  Emma  Trentini,  Soprano,  and  Martinez-Patti,  Tenor 

(In  Italian)      *621O6      lO-inch,        .75 

EDGAR: 

My  sighs  shall  on  the  balmy  breeze 
That  hither  wafts  thee,  be  borne,  love; 
Each  murm'ring  wave  shall  echo  make. 
How  I  thy  absence  do  mourn,   love! 
Ah!  think  of  me  when  far  away, 
With  nought  my  heart  to  cheer; 
I  shall  bedew  each  thought  of  thee 
With  many  a  bitter  tear! 
LUCY: 

The  balmy  breeze  that  bears  thy  sigh, 
Will  waft  one  back  from  me,  love; 
The  murm'ring  waves  re-echoing  still 
I'm  ever  constant  to  thee,  love! 
Ah!   think  of  me  when  far  away, 
With  nought  my  heart  to  cheer; 
I  shall  bedew  each  thought  of  thee 
With  many  a  bitter  tear! 
Ah!   thou  wilt  not  fail   to  write  me, 
Many  a  lonely  hour  'twill  cheer; 
EDGAR: 

Fear   not!      Have  no   fear,   thou   shalt   hear! 
BOTH: 

My  sighs  shall  on   the  balmy  breeze  MrroRMATK 

That  hither  wafts  thee  be  borne,  love;  etc. 
Edgar  tears  himself  from  her  arms  and  departs,  leaving  the  half-fainting  Lucy  to  be  con- 
soled by  her  faithful  Alice. 

ACT  II 

SCENE  I— An  Ante-room  in  the  Castle 

Sir  Henry  and  his  retainer  Norman  are  discussing  the  approaching  marriage  of  Lucy  to 
Arthur.     The  events  which  have  occurred  since  Act  I  are  indicated  by  this  extract  from  the  text: 
HENRY:  HENRY: 

Should  Lucy  still  persist  See,    she    approaches!      Thou    hast    that    forged 

In  opposing  me —  letter, 

NORMAN  :  Give  it  me.     Now  haste   thee  to  the   northern 

Have  no  fear!     The  long  absence  ,.,,entrance> 

Of  him   she   mourneth,   the  letters  There  keep  watch  and  await 

We've      intercepted,      and      the      false      news         The  approach  of  Arthur,  and  with  all  speed, 

thou'lt   tell    her,  on,  hls  arrival 

Will  quench   all   hope  that  yet  may  linger.  Conduct  him   hither! 

Believing     Edgar     faithless,     from     her     bosom         (Exit  Norman  ) 
love  will  vanish! 

Lucy  enters,  pale  and  listless,  and  to  her  brother's  greeting : 
HENRY: 

Draw  nearer,  my  Lucy. 

On    this   fair    day   accept   a   brother's   greeting!         Auspicious   prove    to    thee.      Thou    hear'st   me? 

May     this     glad     day,     sacred     to     Love     and  Thou'rt   silent! 

Hymen, 
she  answers  with  a  last  appeal  to  him  to  release  her  from  this  hated  marriage. 

*  Doubk-Facca1  Record— For  title  of  opposite  side  see  DOUBLE-FACED  LUCIA  RECORDS,  page  2 15. 

211 


VICTOR     BOOK     OF     THE     Q  P  E  R  A— D  ON  I  ZETTI' S     LUCIA 

II  pallor  funesto  (If  My  Cheek  is  Pale) 

By  Linda  Brambilla  and  Francesco  Cigada     (In  Italian)     *16574     lO-inch,  $0.75 

LUCY:  LUCY: 

See  these  cheeks  so   pale  and   haggard,  Cease  to   urge  me! 

See  these  features  so  worn  with  sadness!  To  another  true  faith  have  I  sworn! 

Do  not  they  betray  too  plainly  HENRY: 

All  my  anguish,  all  my  despair?  "Pis  well! 

Pardon  may'st  thou  from  Heaven  By  this  letter  thou   may'st   see 

Not  vainly  ask  for  this  thy  inhuman  constraint.         How   he   keeps   his   faith   with   thee! 
HENRY  :  Read  it. 

Cease   this  wild   recrimination,  (Hands  her  a  letter.) 

Of  the  past  be  thou  but  silent!  LUCY: 

Flown    has   my    anger!      Banish    thy    dejection!         How  beats  my   flutt'ring   heart! 

Buried  be  all   that  thine   honor  could  taint.  (Reads): 

A  noble  husband,   thou   wilt  have.  Ah!   great   Heaven! 

Henry,  in  desperation,  now  tells  her  that  unless  she  consents  to  wed  Arthur  he  will  be 
disgraced  and  ruined.  This  begins  another  duet,  the  Se  tradirme. 

Se  tradirme  tu  potrai  (I'm  Thy  Guardian) 

By  Huguet,  Soprano ;  Cigada,  Baritone  (In  Italian)     *62O89     lO-inch,  $0.75 

HENRY:  LUCY: 

I'm   thy  guardian,   dar'st   thou  brave  me?  I'm  thy  sister,  dost  thou  love  me! 

I'm  thy  brother — wilt  thou  save  me?  I  am  dying,  will  that  move  thee! 

From  the  hands  of  thee,  my  sister,  From   the   hands   of  thee,   my   brother, 

Must  I  meet  a  traitor's  doom?  Must  I  meet  now  this  dreadful  doom! 

See  the  axe,  by  one  thread  hanging;  Hopeless   misery   all    surrounding, 

Hark!   the  deep  toned  deathbell   clanging.  E'en   while   the  marriage  bell   is  sounding: 

Hath  affection   lost  all   power?  Fear  and  hate  will  be  my  dower; 

Wilt  consign  me  unto  the  tomb?  Better  had  I   wed  the  tomb! 

However,  convinced  of  Edgar's  falseness,  she  half  consents  to  the  sacrifice,  and  retires 
to  prepare  for  the  ceremony. 

SCENE  II—  The  Great  Hall  of  the  Castle 

The  knights  and  ladies  sing  a  chorus  of  congratulation  to  the  bride  and  bridegroom, 
while  Sir  Henry  greets  the  guests  and  asks  them  to  pardon  Lucy's  agitated  bearing,  as  she  is 
still  mourning  for  her  mother. 

/  Lucy  enters  and  is  escorted  to  the  table  where  the  notary  is  preparing  the  marriage 
papers.  Believing  her  lover  false,  she  cares  little  what  becomes  of  her,  and  passively  signs 
the  contract.  Pale  as  death  and  almost  fainting,  she  is  being  supported  by  her  faithful  maid 
and  her  family  adviser,  Raymond,  when  suddenly  a  terrible  silence  ensues,  as  Edgar,  the 
lover  of  Lucy  and  the  deadly  enemy  of  her  brother,  appears  at  the  back  of  the  room  dressed 
in  a  sombre  suit  of  black.  The  "wedding  guests  are  dumb  with  amazement  at  the  daring  of 
the  young  noble  in  thus  presenting  himself  unbidden  at  the  house  of  his  enemy.  The  great 
sextette,  the  most  dramatic  and  thrilling  number  in  the  entire  range  of  opera,  now  begins. 

Unlike  many  operatic  ensembles,  this  sextette  is  not  merely  a  most  remarkable  bit  of 
concerted  writing,  but  is  so  well  fitted  to  the  scene  in  which  it  occurs  that  even  the  enemies 
of  Donizetti,  who  call  Lucia  merely  a  string  of  melodies,  are  compelled  to  admit  its  extreme 
beauty  and  powerful  dramatic  qualities. 

Sextette— Chi  mi  frena  ("What  Restrains  Me) 

By  Marcella  Sembrich,  Enrico  Caruso,  Antonio  Scotti,  Marcel  Journet, 

Mme.  Severina  and  Francesco  Daddi          (In  Italian)      962OO      12-inch,  $7.OO 
By  Tetrazzini,  Caruso,  Amato,  Journet,  Jacoby  and  Bada 

(In  Italian)     962O1  12-inch.  7.OO 

By  Victor  Opera  Sextette                                      (In  Italian)      70O36  12-inch,  1.25 

By  Pry  or 's  Band                                                                                31460  12-inch,  l.OO 

Transcription  by  Ferdinand  Himmelreich     (Pianoforte)     *35223  12-inch,  1.25 

Edgar  remains  standing,  with  his  eyes  steadily  fixed  on  the  unhappy  Lucy,  who  is 
unable  to  meet  his  glance.  This  dramatic  silence  is  broken  by  the  commencement  of  the 
sextette,  as  Edgar  and  Sir  Henry,  with  suppressed  emotion,  sing  their  short  duet: 

*  Double-Faced  Record— See  page  215. 


VICTOR     BOOK     OF     THE     O  P  E  R  A— D  O  N  I  ZETTI 'S     LUCIA 

HENRY  AND  EDGAR:  LUCY    (despairingly): 

Instant    vengeance,    what    restraineth,  I   had  hop'd  that   death   had  found  me, 

What  thus  stays  my  sword  in  scabbard?  And  in  his  drear  fetters  bound  me, 

Is't  affection  that  still  remaineth,  But  he  comes  not  to  relieve  me! 

.  And    each   angry   tho't   enchaineth?  Ah!   of  life   will   none  bereave  me? 

Of  mine  own  blood  {  $™>rt  }  betrayer,  ^JSPSeTrS^'tot  withers  on  the  stem, 
And   despair  {££}   heart  doth  wither,  H^^for  tby  Vt^n^movU  '^ 

EDGAR:  Has  of  a  tiger  in  his  breast  the  heart! 

Yet,  ungrateful  one,  I  love  thee  still!  ARTHUR: 
HENRY:  Hence,  thou  traitor,  hence  betake  thee, 

And  remorse  my  breast  doth  fill!  Ere   our  rage   shall   o'erwhelm   thee! 

One  by  one  the  characters  in  the  scene  take  up  their  portions  of  the  sextette  until  the 
great  climax,  one  of  the  most  dramatic  moments  in  opera,  is  reached. 

Several  records  of  this  magnificent  number  are  offered  to  Victor  audiences.  Besides 
the  splendid  Caruso-Sembrich  and  Caruso-Tetrazzini  renditions,  the  Victor  has  recently 
issued  a  superb  record  by  the  Victor  Opera  forces  at  the  popular  price  of  $1.25,  while  for 
those  who  prefer  an  instrumental  rendition  a  fine  band  record  is 
offered. 

Henry  and  Edgar,  who  have  drawn  their  swords,  are  separated 
by  Raymond,  who  commands  them  in  Heaven's  name  to  sheath 
their  weapons.  Henry  asks  Edgar  why  he  has  come,  and  the 
knight  replies: 

EDGAR : 

Hither  came  I 
For  my  bride — thy  sister 
Unto  me  her   faith  hath  sworn! 
RAYMOND: 

Thou  must  all  hope  of  her  relinquish; 
She  is  another's! 

He  exhibits  the  signed  contract,  but  Edgar  refuses  to  believe 
the  evidence  of  his  eyes  and  asks  Lucy  if  she  had  signed  it.  With 
her  eyes  fixed  on  him  she  tremblingly  nods  her  head  in  assent. 
Edgar,  in  a  furious  rage,  tears  the  contract  in  pieces,  flings  it  at  the 
fainting  maiden,  and  rushes  from  the  castle  as  the  curtain  falls. 

ACT  III 

SCENE  I— The  Tower  of  Raoenswood  Castle 

Edgar  is  brooding  on  his  misfortunes  when  a  horseman  rides 
up,  dismounts  and  enters  the  tower.  It  proves  to  be  Sir  Henry, 
who  has  come  to  challenge  Edgar  to  a  duel  to  the  death.  They 
agree  to  fight  the  following  morning,  and  in  this  duet  ask  the  night 
to  hasten  away,  that  their  vengeance  may  be  consummated. 

SALEZA    AS    EDGARDO 

O  sole  piu  rapido  (Haste,  Crimson  Morning) 

By  Giuseppe  Acerbi,  Tenor,  and  Renzo  Minolfi,  Baritone 

(In  Italian)     *62644      10-inch,  $O.75 

Why  the  gentlemen  do  not  take  advantage  of  the  present  moment  the  librettist  does 
not  reveal !  This  scene  is  so  melodramatic  that  it  borders  on  the  absurd,  and  it  is  usually 
omitted  in  this  country,  although  it  is  well  worth  hearing  from  a  musical  point  of  view. 

SCENE  \\-Hall  in  Lammermoor  Castle 

The  peasants  and  domestics  of  the  castle  are  making  merry  at  their  feast  in  honor  of 
the  marriage  when  Raymond  enters,  greatly  agitated,  bearing  the  fearful  news  that  Lucy  has 
become  insane  and  has  killed  her  husband.  This  gives  opportunity  for  a  dramatic  air, 
sung  here  by  Signor  Sillich  and  the  La  Scala  Chorus. 

O  qual  funesto  avvenimento    (Oh!  Dire  Misfortune) 

By  Aristodemo  Sillich,  Bass,  and  Chorus       (In  Italian)     *62644     lO-inch,  $O.75 
Raymond's  tidings  have  scarcely  been  spoken  when  Lucy  enters,  a  pale  and  lovely  figure 
in  white,  and  all  unconscious  of  the  horror-stricken  servants,  begins  her  famous  so-called 
Mad  Scene. 

*  DoMe-Faced  Record— For  title  of  oppoMe  side  *ee  DOUBLE-FACED  LUCIA  RECORDS,  page  215. 

213 


VICTOR     BOOK     OF     THE     O  PE  R  A— D  ON  IZETTI '  S     LUCIA 


Mad  Scene  (with  Flute 

By  Luisa  Tetrazzini.  Soprano  (In  Italian)     88299     12-inch,  $3.00 

By  Marcella  Sembrich,  Soprano  (In  Italian)     88021      12-inch,     3.OO 

By  Nellie  Melba,  Soprano  (In  Italian)     88071      12-inch,     3.OO 

By  Maria  Galvany,  Soprano  (In  Italian)     88221      12-inch,     3.00 

By  Graziella  Pareto,  Soprano  (In  Italian)     76OO6     12-inch,     2.00 

By  Edith  Helena,  Soprano  (In  English)     35214     12-inch,     1.25 

By  Marie  Michailowa,  Soprano  (In  Russian)     61129     10-inch,     l.OO 

Forgetting  her  marriage,  the  demented  maiden  speaks  one  moment  of  the  happy  day 

when  she  will  be  Edgar's  wife,  and  next  is  terrified  by  a  vague  feeling  that  something  has 

come  between  them. 

This  famous  number  must  be  judged  solely  as  a  brilliant  piece  of  vocalism ;  it  can  hardly 
be  considered  dramatically,  because  when  the  prima  donna  loses  her  reason  in  this  style  of 
opera,  it  only  means  that  the  scales  become  more  rapid  and  the  roulades  more  difficult! 
The  unfortunate  Lucy  in  her  agony  seems  inclined  and  able  to  sing  the  most  difficult  and 
florid  music  conceivable,  and  venture  without  hesitation  on  passages  at  which  a  sane  person 
would  stand  aghast !  In  short,  Donizetti  forgot  his  dramatic  mission  temporarily  in  his  efforts 
to  •write  a  show  piece  of  musical  execution. 
LUCY: 

I   hear  the  breathing  of  his  tender  voice, 
That  voice  beloved  sounds  in  my  heart  forever. 
My  Edgar,  why  were  we  parted? 
Let  me   not  mourn  thee; 
See,  for  thy  sake,  I've  all  forsaken 
hudder    " 


What  shi 


do  I  feel  thro'  my  veins? 

senses  fail 
ouble  and  smiles.) 


My  heart  is  trembling,   my  senses  fail 

(She  forgets  her  t 

Come  to  the  fountain; 

There  let  us  rest  together, 

Ah  me!   see  where  yon  spectre  arises, 

Standing  between  us!     Alas!     Dear  Edga 


See  yon  phantom   rise  to  part  us! 

(Her  mood  again   changes.) 

Yet  shall  we  meet,  dear  Edgar,  before  the  altar. 

Hark  to   those  strains  celestial! 

Ah!     'Tis  the  hymn  for  our  nuptials! 

For  us  they  are  singing! 

The  altar  for   us  is  deck'd  thus, 

Oh,   joy   unbounded! 

'Round  us  the  brilliant  tapers  are  shining, 

The  priest  awaits  us. 

Oh!  day  of  gladness! 

(She  falls  fainting  into  the  arms  of  Raymond.) 

Donizetti's  scene  seems  especially  set  apart  for  the  display 
of  such  a  coloratura  as  Melba  possesses,  and  she  sings  this 
florid  music  with  such  brilliancy  and  graceful  fluency  that 
the  listener  is  dazzled.  Her  runs,  trills  and  staccato  notes 
glitter  and  scintillate,  and  compel  a  new  admiration  for  the 
wonderful  vocal  mechanism  over  which  she  has  such  absolute 
command. 

The  role  of  the  unhappy  Lucy  is  also  admirably  fitted 
to  Tetrazzini's  peculiar  talents,  and  as  the  heroine  of  Donizetti's 
lovely  opera  she  has  made  quite  the  greatest  success  of  her 
career.  When  she  reaches  this  florid  and  difficult  Mad  Scene, 
the  listeners  are  absolutely  electrified,  and  such  a  torrent  of 
enthusiasm  bursts  forth  that  the  diva  is  usually  compelled  to 
repeat  a  portion  of  the  aria. 

Mme.  Sembrich's  rendition  proves  that  the  compass  of 
her  voice  is  all  but  phenomenal,  and  she  sings  the  difficult 
music  with  delightful  flexibility. 

Other  renditions  of  this  well-known  scene  are  given  by 
Mme.  Galvany  and  Mme.  Pareto,  the  famous  Italian  prima 
donnas,  and  by  Michailowa,  the  famous  Russian  singer. 
Although  none  of  these  artists  has  yet  visited  America,  their 
beautiful  voices  are  heard  in  thousands  of  homes  in  which 
the  Victor  is  a  welcome  entertainer. 

The  unhappy  Lucy,  after  having  in  this  scene  again 
enacted  the  terrible  events  of  the  previous  day,  falls  insensible 
and  is  carried  to  her  room  by  Alice  and  Raymond. 

SCENE  II—  The  Tombs  of  the  RaoenswooJs 

Edgar,  weary  of  life,  has  come  to  the  rendezvous  arranged  with  Henry,  intending  to 
throw  himself  on  his  enemy's  sword,  the  last  of  a  doomed  race.  But  he  waits  in  vain,  for 
Henry,  filled  with  remorse  at  the  consequences  of  his  schemes,  has  left  England,  never  to  return. 

Edgar  sings  the  first  of  the  two  beautiful  airs  written  by  Donizetti  for  this  scene. 


DEMENTED    LUCY 


VICTOR     BOOK     OF     THE     O  P  E  R  A  — D  O  N  I  Z  ETT  I 'S     LUCIA 
Fra  poco  a  me  ricovero  (Farewell  to  Earth) 

By  John  McCormack,  Tenor  (In  Italian)     74223     12-inch  $1.50 

His  attention  is  now  attracted  by  a  train  of  mourners  coming  from  the  castle,  accom- 
panied  by   Raymond,  who   reveals  to   the  unhappy   man  that  Lucy  is  dying,  and  even  while 
they  converse  the  castle  bell  is  heard  tolling,  a  signal  that  the  unhappy  maiden  is  no  more. 
The   grief-stricken   lover  then   depicts   his   emotion  in  the  second  air,  a  lovely  number 
with  sadness  in  every  tone. 

Tu  che  a  Dio  spiegasti  1'ali  (Thou  Hast  Spread  Thy  Wings  to 
Heaven)     (O  bell'  alma  innamorata) 

By  John  McCormack,  Tenor  (In  Italian)        74224     12-inch,  $1.50 

By  Florencio  Constantino,  Tenor  (In  Italian)        74066     12-inch,     1.5O 

By  Gino  Martinez-Patti,  Tenor  (In  Italian)     *62O89     10-inch,       .75 

The  dramatic   interest   deepens  as  the  air  proceeds,  until  the  finale,  when  Edgar,  in  an 

excess  of  penitence,  prays   that  not  even  the  spirit  of  the  wronged  Lucy  may  approach  so 

accursed  a  tomb  as  that  of  Ravenswood. 


EDGAR: 

Tho'   from    earth   thou'st    flown   before   me, 
My  ador'd,  my  only  treasure; 
Tho'   from   these   fond  arms  they   tore  thee, 
Soon,   soon,   I'll   follow  thee, 


I'll   follow   thee  above. 
Tho'  the  world  frown'd  on  our  union, 
Tho'  in  this  life  they  did  part  us. 
Yet  on  high,  in  fond  communion, 
Shall   our  hearts   be  turned  to   love! 


Breaking  from  Raymond,  who  endeavors  to  prevent  the  fatal  act,  Edgar  stabs  himself, 
and  supported  in  the  good  man's  arms,  he  repeats  in  broken  phrases  the  lovely  O  bell'  alma 
innamorata,  and  lifting  his  hands  to  Heaven,  as  if  to  greet  the  spirit  of  Lucy,  he  expires. 


DOUBLE-FACED  AND  MISCELLANEOUS  LUCIA  RECORDS 

35214      12-inch,  $1.25 


{Mad  Scene  By  Edith  Helena,  Soprano     (In  English) 

Trovatore — Tacea  la  nolle.      (Peaceful  Was  the  Night) 
By  Edith  Helena,  Soprano     (In  English) 
[Sextette     (Transcription)     Pianoforte 


By  Himmelreich)  _-,    „  .     ,  ,, 

..  /~L—  J—  /~     c^ >35223      12-inch,      1.25 


\     Caprice  Espanol     (Moszttowsfy)     Pianoforte      By  Charles  G.  Spross) 
Regnava  nel  silenzio    (Silence  O'er  All)  1 

By  Giuseppina  Huguet,  Soprano     (In  Italian)  I 
Norma — Casta  Dioa     (Queen  of  Heaven) 

By  Giuseppina  Huguet,  Soprano     (In  Italian)) 
II  pallor  funesto    (If  My  Cheek  is  Pale) 

By  Linda  Brambilla  and  Francesco  Cigada     (In  Italian) 
Sulla  tomba  che  rinserra   (By  My  Father's  Tomb) 

By  Emma  Trentini  and  Martinez-Patti     (In  Italian) 
Se  tradirme  su  potrai  (I'm  Thy  Guardian) 

By  Giuseppina  Huguet,  Soprano,  and  Francesco  Cigada, 

Baritone  (In  Italian)  }62O89 

Tu  che  a  Dio  spiegasti  1'ali  (Thou  Hast  Spread  Thy  Wings) 

(O  bell'  alma  innamorata)       By  Martinez-Patti     (In  Italian)) 
O  qual  funesto  avvenimento 

By  Aristodemo  Sillich,  Bass,  and  Chorus     (In  Italian) 
O  sole  piu  rapido   (Haste,  Crimson  Morning!) 

By  Acerbi  and  Minolfi     (In  Italian) 
Opening  Chorus  By  La  Scala  Chorus     (In  Italian)  \ 


10-inch,       .75 


16574     10-inch.       .75 


10-inch,       .75 


62644     lO-inch,       .75 


IVerranno  a  te  sull'  aura   (Borne  on  Sighing  Breeze) 
By  Trentini  and  Martinez-Patti     (In  Italian)  J 
Quando  rapita  in  estasi  (Swift  as  Thought)  1 

By  Giuseppina  Huguet,  Soprano     (In  Italian)} 
Lucrezia  Borgia — Rischiarata  e  la  fineslra 

By  La  Scala  Chorus     (In  Italian)) 


621O6     lO-inch.       .75 


63172      lO-inch.       .75 


*  Double-Faced  Record— For  title  of  opposite  side  see  above  list. 

215 


LUCREZIA  BORGIA 

(Loo-krez'-uah  Bor'jah) 

OPERA  IN  THREE  ACTS 

Text  by  Felice  Romani,  taken  from  a  work  of  the  same  name  by  Victor  Hugo.  Music 
by  Gaetano  Donizetti.  First  presented  to  the  public  at  La  Scala,  Milan,  in  1834;  given  at 
the  Theatre  Italien,  Paris,  October  27,  1840.  First  London  production  at  her  Majesty's 
Theatre,  June  6,  1839;  in  English  at  the  Princess'  Theatre,  December  30,  1843.  Produced 
in  New  York  at  the  Astor  Place  Opera  House,  1847,  and  in  1854  with  Maria  Grisi. 


Young  noblemen  in  the  service  of  the  Venetian 
Republic 


Characters 

LUCREZIA  BORGIA 

MAFFIO  ORSINI  (Maf'-fee-oh  O^'-nee) 

GENNARO.  (Jen-nah'-roh) 

LlVEROTTO, 

VlTELLOZZO, 

PETRUCC1, 

GAZELLA, 

IL  DUCA  ALFONSO 

RUSTIGHELLO,  in  the  service  of  Don  Alfonso 

GUBETTA, 

ASTOLFO, 

BATTISTA 

LA  PRINCIPESSA  NEGRONI 
CHORUS 


Scene  and  Period:     Italy;  the  beginning  of  the  sixteenth  century. 
216 


Soprano 
.  Contralto 
Tenor 


in  the  service  of  Donna  Lucrezia 


enor 
Bass 
Bass 
Baritone 
.  .  Tenor 
/Bass 
'IBass 
.  .  Tenor 
Soprano 


VICTOR    BOOK    OF    THE     OPERA— DONIZETTI'S    LUCREZIA     BORGIA 


(\S    LUCREZU 


THE  PLOT 

The  plot  of  Donizetti's  opera  cannot  be  called  a  cheerful  one — it  is,  in  fact,  crowded  with 
horrors.  However,  it  was  a  great  favorite  with  American  audiences  for  many  years,  being 
one  of  the  stock  operas  of  Emma  Abott  during  nearly  her  whole  career.  The  opera  was 
revived  in  1904  for  Caruso,  but  failed  to  score,  and  it  is  quite  likely  that  those  who  admire 
its  few  fine  airs  must  depend  on  their  Victors  if  they  wish  to  hear  them. 

Lucrezia,  the  heroine,  was  a  conspicuous  member  of  the 
notorious  patrician  family — the  Borgias — celebrated  for  their 
diabolical  success  as  poisoners. 

Lucrezia  Borgia  married  as  her  second  husband  Don  Alfonso, 
Duke  of  Ferrara.  By  her  former  marriage  she  had  a  son  named 
Cennaro,  of  whose  existence  the  Duffs  is  ignorant.  This  son  had, 
at  birth,  been  placed  in  the  care  of  a  fisherman  who  brought 
him  up  as  his  own  child. 

ACT  I 

At  the  opening  of  the  story  Lucrezia,  who  in  spite  of  her 
criminal  practices  has  still  the  mother's  yearning  towards  her 
own  child,  goes  in  disguise  to  Venice  to  visit  him. 

She  finds  her  son  in  the  company  of  some  gay  Venetian 
gallants.  She  •watches  them,  and  presently  Gennaro,  wearied 
by  the  mirth  of  his  companions,  draws  apart  and  falls  asleep 
on  a  seat.  Lucrezia  draws  near,  and  gazing  on  his  youthful 
beauty,  she  forgets  everything  except  that  she  is  his  mother. 
She  gently  presses  a  kiss  on  his  brow  and  prepares  to  depart, 
when  he  awakes  and  asks  her  who  she  is.  She  evades  the 
question,  and  leads  him  to  talk  about  his  mother,  whom  he 
says  he  has  never  seen.  Feeling  drawn  toward  the  beautiful 
stranger,  he  tells  his  story,  in  the  fine  Di  pescatore. 

Di  pescatore  ignoble .  (In  a  Fisher's  Lowly  Cot) 

By  Francesco  Marconi,  Tenor  (In  Italian)      76004     12-inch,  $2.00 

She  bids  him  farewell,  and  is  about  to  take  her  leave  when  Orsini  appears,  recognizes 
her,  and  after  brutally  reciting  her  crimes  one  by  one,  tells  the  horror-stricken  Gennaro  that 
it  is  the  Borgia.  All  turn  from  her  in  horror,  and  Lucrezia  falls  fainting. 

ACT  II 

Gennaro  afterwards  shows  his  hatred  and  contempt  for  the  Borgias  by  tearing  down 
Lucrezia' s  coat  of  arms  from  her  palace  gates,  and  is  imprisoned  by  the  Duke's  orders. 
Lucrezia,  ignorant  of  the  identity  of  the  individual  who  has  insulted  her,  complains  to  the 
Duke,  who  promises  that  the  perpetrator  shall  be  immediately  punished.  He  gives  vent  to 
his  feelings  in  his  air,  Vieni  la  mia  vendetta. 

Vieni,  la  mia  vendetta  (Haste  Thee,  for  Vengeance) 

By  Giulio  Rossi,  Bass  (In  Italian)     *63404     10-inch,  $0.75 

Gennaro  is  sent  for  and  Lucrezia  at  once  recognizes  him.  Full  of  horror,  she  turns  to  the 
Duke  and  begs  him  to  overlook  the  offense.  The  Duke  is  relentless  and  compels  Lucrezia 
herself  to  hand  a  poisoned  cup  to  her  son.  She  obeys,  but  afterward  contrives  to  give  the 
youth  an  antidote.  He  suspects  her  of  treachery,  but  she  pleads  so  tearfully  with  him  that 
he  trusts  her  and  drinks  the  remedy. 

ACT  III 

This  act  opens  with  a  chorus  of  bravos,  who  have  been  set  to  watch  the  dwelling  of  Gennaro. 

Rischiarata  e  la  finestra  (Yonder  Light  is  the  Guiding  Beacon) 

By  La  Scala  Chorus  (In  Italian)     *63172     lO-inch,  $0.75 

Gennaro,  whose  life  has  been  saved  by  the  antidote  Lucrezia  had   given  him,  instead  of 

escaping  from  the  city  as  she   had  advised  him,  accompanies  Orsini  to  a  banquet  which  has 

been  secretly  arranged  by  Lucrezia,  and   to   which  have  been  invited   the  young  men  who 

had  recognized  and  denounced  her  in  Venice. 

In  this  scene  occurs  the  famous  Brindisi,  or  drinking  song. 
* Double-Faced  Record— see  page  218. 

217 


VICTOR    BOOK    OF    THE     OPERA— DONIZETTI'S    LUCREZIA     BORGIA 
Brindisi  (It  is  Better  to  Laugh) 

By  Ernestine  Schumann- Heink,  Contralto     (In  German)     88188     12-inch,  $3.00 

This  air  is  a  very  •well  known  one,  and  has  been  frequently  sung,  but  Mme.  Schumann- 
Heink  puts  such  brilliant  spirit  into  it,  and  sings  it  with  such  wealth  of  gayety,  such  astonish- 
ing range  and  such  agility,  that  the  rendition  amazes  the  listener.  It  is  certain  that  no  music- 
lover  of  the  present  generation  has  ever  heard  it  sung  so  brilliantly.  The  high  notes  are 
taken  with  the  ease  of  a  soprano,  and  altogether  this  familiar  drinking  song  has  never  been 
so  well  delivered. 

The  role  of  Maffio  Orsini  was  always  one  of  Mme.  Schumann-Heink's  favorites,  and  she 
makes  a  gallant  figure  as  the  gay  Roman  youth.  The  words  are  well  suited  to  the  gayety 
of  the  music,  and  have  been  translated  as  follows : 

Brindisi 

It  is  better  to  laugh  than  be  sighing.  In  the  world  we  some  beings  discover, 
When    we   think   how    life's   moments   are   flying;     Far  too  frigid  for  friend  or  for  lover; 

For  each  sorrow  Fate  ever,  is  bringing,  Souls   unblest,   and   forever   repining, 

There's  a  pleasure  in  store  for  us  springing.  Tho'   good   fortune  around   them   be   shining. 

Tho'  our  joys,   like  to  waves  in  the  sunshine,  It  were  well,  if  such  hearts  we  could  banish 

Gleam  awhile,   then  are  lost  to  the   sight,  To   some   planet  far  distant  from   ours; 

Yet,   for  each  sparkling  ray  They're   the   dark  spots   we   trace, 

That   so  passes   away,  On  this  earth's  favored  space; 

Comes  another  as  brilliant  and  light.  They  are  weeds  that  choke  up  the  fair  flow'rs! 

Then  'tis  better  to  laugh  than  be  sighing; 

They  are  wise  who  resolve  to  be  gay; 
When  we  think  how  life's  moments  are  flying, 

Enjoy  Pleasure's  gifts  while  we  may! 

In  the  midst  of  the  feast  the  door  opens,  the  Borgia  appears  and  tells  them  that  they 
are  doomed,  as  the  wine  has  been  poisoned  by  her. 


S    POISONED    HER    SON 


To  her  horror  she  sees  Gennaro  among  the  guests.  He,  too,  has  drunk  of  the  fatal 
wine.  She  again  offers  him  an  antidote,  which  he  refuses,  because  the  amount  is  insufficient 
to  save  the  lives  of  his  friends.  Lucrezia  confesses  the  relationship  between  them,  but 
Gennaro  spurns  her  and  dies.  The  Du£e  now  appears,  intending  to  share  in  Lucrezia's 
hideous  triumph,  but  finds  his  wife  surrounded  by  her  victims — some  dead,  others  dying. 
Lucrezia,  a  witness  to  the  horrible  result  of  her  crime,  suffers  the  keenest  remorse,  drinks 
some  of  her  own  poison  and  herself  expires. 


DOUBLE-FACED    LUCREZIA  BORGIA   RECORDS 

Vieni,  la  mia  vendetta  By  Giulio  Rossi,  Bass      (In  Italian)] 

Qli  Ugonotti— Duetto  Valentino  Marcello  [&3404      10-inch,  $O.75 

By  Maria  Qrisi,  Soprano,  and  Perello  De  Segurola,  Bass) 
Rischiarata  e  la  finestra  (Yonder  Light  is  the  Guiding  1 

Beacon)  By  La  Scala  Chorus     (In  Italian)  I ,,.  __      in.     ,  _, 

Lucia  Ji  Lammermoor— Quando  rapila  in  estasi  |63172      10-inch,        .75 

By  Qiuseppina  Huguet,  Soprano) 


MADAMA'BUTTERFLY 

(Mah'-dah-mah) 

(English) 

MADAM  BUTTERFLY 

OPERA  IN  THREE  ACTS 

A  Japanese  lyric  tragedy,  founded  on  the  book  of  John  Luther  Long  and  the  drama  by 
David  Belasco,  with  Italian  libretto  by  Illica  and  Giacosa.  Music  by  Giacomo  Puccini.  First 
produced  at  La  Scala,  Milan,  in  1904,  it  proved  a  failure.  Revived  the  following  year  in 
slightly  changed  form  with  much  success.  First  American  presentation  (in  English)  occurred 
in  October,  1906,  in  Washington,  D.  C,  by  Savage  Opera  Company.  First  representation  in 
Italian  at  Metropolitan  Opera  House,  February  11,  1907,  with  Farrar,  Caruso,  Homer  and 
Scotti. 


Characters 

MADAM  BUTTERFLY  (Cho-Cho-San) 

SUZUKI,  (Soo-zu'-keu)  Cho-Cho-San's  servant 

B.  F.  PINKERTON.  Lieutenant  in  the  United  States  Navy 

KATE  PINKERTON,  his  American  wife 

SHARPLESS,  United  States  Consul  at  Nagasaki 

GORO,  a  marriage  broker 

PRINCE  YAMADORI,  suitor  for  Cho-Cho-San 

THE  BONZE.  Cho-Cho-San's  uncle 

CHO-CHO-SAN'S  MOTHER 

THE  AUNT 

THE  COUSIN 

TROUBLE.  Cho-Cho-San's  child 

Cho-Cho-San's  relations  and  friends — Servants. 


Soprano 

Mezzo-Soprano 

Tenor 

Mezzo-Soprano 

Baritone 

Tenor 

Baritone 

Bass 

Mezzo-Soprano 
Mezzo-Soprano 
Soprano 


At  Nagasaki,  Japan — Time,  the  present. 
219 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


The  Story 

Puccini's  opera,  which  from  the  first  aroused  the  keenest  interest  among  opera- goers, 
has  become  an  enduring  success.  The  original  Metropolitan  production  in  Italian  was  under 
the  personal  direction  of  Puccini  himself,  who  refined  and  beautified  it  according  to  his  own 
ideas  into  one  of  the  most  finished  operatic  productions  ever  seen  here. 

The  story  of  the  drama  is  familiar  to  all  through  John  Luther  Long's  narrative  and  the 
Belasco  dramatic  version.  The  tale  is  the  old  one  of  the  passing  fancy  of  a  man  for  a  woman, 
and  her  faithfulness  even  unto  death,  which  comes  by  her  own  hand  when  she  finds  herself 
abandoned. 

Puccini  has  completely  identified  his  music  with  the  sentiments  and  sorrows  of  the 
characters  in  John  Luther  Long's  drama,  and  has  accompanied  the  pictorial  beauty  of  the 
various  scenes  with  a  setting  of  incomparable  loveliness.  Rarely  has  picturesque  action 
been  more  completely  wedded  to  beautiful  music. 

ACT  I 

SCENE — Exterior  of  Pinkerton  's  house  at  Nagasaki 

At  the  rise  of  the  curtain  Goro,  the  marriage  broker  who  has  secured  Pinkerton  his  bride, 
is  showing  the  Lieutenant  over  the  house  he  has  chosen  for  his  honeymoon.     Sharpless,  the 
American  Consul  and  friend  of  Pinkerton,  now  arrives,  having  been   bidden  to  the  marriage. 
Then  occurs  the  fine  duet,  which  Caruso  and  Scotti  have  sung  here  in  splendid  style. 

Amore  o  grille  (Love  or  Fancy  ?) 

By  Enrico  Caruso,  Tenor,  and  Antonio  Scotti,  Baritone 

(In  Italian)     89043     12-inch,     $4.0O 

Pinkerton,  joyous  in  the  prospect  of  his  marriage  with 
the  dainty  Japanese  girl,  and  quite  careless  of  the  conse- 
quences which  may  result  from  such  a  union,  describes  his 
bride  to  the  Consul,  who  gives  the  young  lieutenant  some 
good  advice,  bidding  him  be  careful,  that  he  may  not  break 
the  trusting  heart  of  the  Butterfly  who  loves  him  too  well. 

The  number  closes  with  a  splendid  climax,  as  Pinkerton 
recklessly  pledges  the  "  real  American  wife "  whom  he 
hopes  to  meet  some  day ;  while  the  Consul  gazes  at  his 
young  friend  with  some  sadness,  as  if  already  in  the  shadow 
of  the  tragedy  which  is  to  come. 

Now  is  heard  in  the  distance  the  voice  of  Butterfly,  who 
is  coming  up  the  hill  with  her  girl  friends ;  and  she  sings  a 
lovely  song,  full  of  the  freshness  of  youth  and  the  dawning 
of  love. 

Entrance  of  Cio-Cio  San 

By  Geraldine  Farrar,  Soprano 

(In  Italian)     870O4     10-inch,     $2.00 
By  Frances  Alda,  Soprano 

(In  Italian)     64334     lO-inch,        1.00 
By  Edith  Helena,  Soprano 

(In  English)  *17346  10-inch,  .75 
The  friends  and  family  having  been  duly  introduced  to 
Pinkerton,  they  go  to  the  refreshment  table,  while  Butterfly 
timidly  confides  to  Pinkerton,  in  this  touching  number,  that 
she  has  for  his  sake  renounced  her  religion,  and  will  in 
future  bow  before  the  God  of  her  husband. 

leri  son  salita  (Hear  Me) 

By  Geraldine  Farrar,  Soprano  (In  Italian)     87031      lO-inch,     $2.OO 

The  contract  is  signed  and  the  guests  are  dispersing  when  Butterfly 's  uncle  rushes  in  and 
denounces  her,  having  discovered  that  she  has  been  to  the  Mission,  renounced  her  religion, 
and  adopted  that  of  her  husband. 

*Double-Faced  Record— See  page  225. 


AS    PINKERTON 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


She  is  cast  off  by  the  family,  who  flee  from  the  scene  in  horror.  Butterfly  at  first  weeps, 
but  is  comforted  by  the  Lieutenant,  who  tells  her  he  cares  nothing  for  her  family,  but  loves 
her  alone. 

Then  occurs  the  incomparably  beautiful  duet  which  closes  the  first  act,  and  which  is 
beyond  all  question  the  finest  of  the  melodious  numbers  which  Puccini  has  composed  for 
the  opera  ;  and  the  effect  of  this  exquisite  music,  given  on  a  darkened  stage  amid  the 
flashing  of  fireflies,  is  wholly  beautiful. 

O  quanti  occhi  fisi  (Oh 
Kindly  Heavens)  (Love 
Duet  from  Finale,  Act  I) 

By  Geraldine  Farrar, 
Soprano,  and  Enrico 
Caruso,  Tenor 
(In  Italian)    89O17      12-in.,  $4.00 

Miss  Farrar  sings  all  of  Puccini's 
music  fluently  and  gracefully,  but  is  al- 
ways at  her  best  in  this  exquisite  love 
duet,  while  the  number  is  Caruso's  finest 
opportunity  in  the  opera,  and  he  makes 
the  most  of  it. 

The  blending  of  the  voices  of  the 
artists  is  remarkably  effective,  and  the 
ecstatic  climax  at  the  end  is  splendidly 
given,  both  singers  ending  on  a  high 
C  sharp  ;  the  effect  being  absolutely 
thrilling. 

ACT  II 

SCENE—  Interior  of  Butterfly's  Home—  at  the  back  a  Garden  with  Cherries  in  Bloom 
Three   years   have  now  elapsed,  and  Butterfly,  with  her  child  and  faithful  maid,  Suzuki, 
are  awaiting  the  return  of  Pinkerton.     Suzuki  begins  to  lose  courage,  but  Butterfly  rebukes  her 
and  declares  her  faith  to  be  unshaken. 


BUTTERFLY  S    UNCLE    DENOUNCING    HE 


Un  bel  di  vedremo  (Some  Day  He'll  Come) 


By  Geraldine  Farrar,  Soprano 
By  Emmy  Destinn,  Soprano 
By  Frances  Alda,  Soprano 
By  Agnes  Kimball 


(In  Italian) 
(In  Italian) 
(In  Italian) 
(In  English) 


88113 
92O57 
74335 
7OO54 


12-inch,  $3.00 
12-inch,  3.OO 
12-inch, 
12-inch, 


1.50 
1.25 


This  highly  dramatic  number  is  sung  after  Butterfly 
has  reproached  Suzuki  for  her  doubts,  and  in  it  she 
proudly  declares  confidence  in  her  husband.  In  the 
English  version  this  is  called  the  "  Vision  Song,"  as  it 
describes  her  vision  of  the  arrival  of  Pinkerton'  s  ship. 

Ora  a  noi  !  (Letter  Duet) 

By  Geraldine  Farrar,  Soprano, 
and  Antonio  Scotti,  Baritone 

(In  Italian)  89O14  12-inch,  $4.OO 
Butterfly  is  visited  by  Sharpless,  who  has  received  a 
letter  from  Pinkerton,  and  has  accepted  the  unpleasant 
task  of  informing  Butterfly  that  the  Lieutenant  has  de- 
serted her.  He  finds  his  task  a  difficult  one,  for  when 
he  attempts  to  read  Pinkerton'  's  letter  to  her,  she  mis- 
understands its  purport  and  continually  interrupts  the 
Consul  with  little  bursts  of  joyful  anticipation,  thinking 
that  Pinkerton  will  soon  come  to  her.  Finally  real- 
izing something  of  his  message,  she  runs  to  bring  her 
child  to  prove  to  Sharpless  the  certainty  of  her  husband's 
home-corning. 

221 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


Sai  cos'  ebbe  cuore    (Do  You 
Know,  My  Sweet  One) 

By  Geraldine  Farrar,  Soprano 

(In  Italian)     87O55      lO-in.,     $2.OO 
By  Emmy  Destinn,  Soprano 

(In  Italian)     91084     10-in.,       2.OO 

In  this  pitiful  air  she  asks  little  ' '  Trouble " 
not  to  listen  to  the  bad  man  (Sharpless) ,  who  is 
saying  that  Pinkerton  has  deserted  them. 

Shocked  at  the  sight  of  the  child,  which  he 
knew  nothing  about,  Sharpless  gives  up  in  despair 
the  idea  of  further  undeceiving  her,  knowing  that 
she  will  soon  learn  the  truth,  and  leaves  Butterfly, 
who  refuses  to  doubt  Pinkerton,  in  an  exalted  state 
of  rapture  over  the  idea  of  her  husband's  return. 

Throughout  the  duet  may  be  heard  the 
mournfully  sweet  "waiting  motive  "  played  softly 
by  the  horns,  and  accompanied  by  strings  pizzicati. 
This  is  beautifully  given  here,  and  the  record  is  a 
most  impressive  one. 

The  sound  of  a  cannon  is  heard,  and  with 
aid  of  a  glass  the  two  women  see  Pinkerton  's  ship,  the 
Abraham  Lincoln,  entering  the  harbor. 

Duet  of  the  Flowers 

By  Geraldine  Farrar,  Soprano, 
and  Louise  Homer,  Contralto 

(In  Italian)      89OO8      12-in..     $4.OO 


Greatly  excited,  Butterfly  bids  the  maid  strew 
the  room  with  flowers,  and  they  scatter  the  cherry 
blossoms  everywhere,  singing  all  the  -while  weird 
harmonies  which  are  hauntingly  beautiful. 

Miss  Farrar's  impressive  Cio-Cio-San,  childish 
and  piquant  in  its  lighter  aspects  and  pitifully 
tragic  in  its  final  scenes,  and  Mme.  Homer's 
Suzuki,  the  patient  handmaiden,  who  loves  and 
protects  her  mistress  through  all  the  weary  years 
of  waiting,  are  two  most  powerful  impersonations. 
Of  the  music  written  for  these  two  roles,  this 
exquisite  duet  is  especially  attractive. 

Night  is  falling,  and  not  expecting  Pinkerton 
until  morning,  Butterfly,  Suzuki  and  the  child  take 
their  places  at  the  window  to  watch  for  his  com- 
ing. As  the  vigil  begins,  in  the  orchestra  can  be 
heard  the  "  Waiting  Motive,"  with  its  accompani- 
ment by  distant  voices  of  the  sailors  in  the  har- 
bor, producing  an  effect  which  is  indescribably 
beautiful. 


SCENE  II— Same  as  the  Preceding 

The  curtain  rises  on  the  same  scene.  It  is  daybreak.  Suzuki,  exhausted,  is  sleeping,  but 
Butterfly  still  watches  the  path  leading  up  the  hill.  Suzuki  awakes  and  insists  on  Butterfly 
taking  some  rest,  promising  to  call  her  when  the  Lieutenant  arrives. 

Sharpless  and  Pinkerton  now  enter,  and  question  Suzuki,  the  Lieutenant  being  deeply 
touched  to  find  that  Butterfly  has  been  faithful  to  him,  and  that  a  child  has  been  born. 

Suzuki,  seeing  a  lady  in  the  garden,  demands  to  know  who  she  is,  and  Sharpless  tells  her 
it  is  the  wife  of  Pinkerton,  he  having  married  in  America, 

223 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


The  introduction  by  Puccini's  librettist  of  this  character  has  been  severely  criticised, 
many  considering  it  of  doubtful  taste,  and  forming  a  jarring  note  in  the  opera.  So  strong 
is  this  feeling  in  France,  that  the  part  of  Kate  has  been  eliminated  from  the  cast. 

The  faithful  maid  is  horrified,  and  dreads  the  effect  of  this  news  on  her  mistress. 
Weeping  bitterly,  she  goes  into  Butterfly's  chamber,  while  the  friends  are  left  to  bitter 
reflections,  expressed  by  Puccini  in  a  powerful  duet. 

Ve  lo  dissi  ?   (Did  I  Not  Tell  You  ?) 

By  Enrico  Caruso  and  Antonio  Scotti  (In  Italian)     89O47     12-inch,     $4.0O 

Pinkerton  realizes  for  the  first  time  the  baseness  of  his  conduct,  while  the  Consul  reminds 
him  of  the  warning  he  had  given  him  in  Act  I, — to  beware  lest  the  tender  heart  of  Butterfly 
be  broken. 

The  part  of  the  Consul  is  not  a  great  one,  but  Scotti  almost  makes  it  one  with  his  care- 
ful portrayal,  singing  with  dignity  and  tenderness  and  giving  the  part  its  full  dramatic  value. 
With  the  re-entrance  of  Suzuki  occurs  the  trio  for  Pinkerton,  Sharpless  and  Suzuki. 

Lo  so  che  alle  sue  pene  (Naught  Can  Console  Her) 

By  Martin,  Fornia  and  Scotti  (In  Italian)     875O3     lO-inch,     $3.OO 

This  trio  is  dramatically  given  by  Martin,  Fornia  and  Scotti,  who  have  this  season  made 
successes  in  the  several  roles  of  Pinkerton,  Suzuki  and  Sharpless. 

Finale  Ultimo  (Butterfly's  Death  Scene) 

By  Geraldine  Farrar,  Soprano  (In  Italian)     87030     lO-inch,     $2.OO 

By  Emmy  Destinn,  Soprano  (In  Italian)     91O86     lO-inch,       2.0O 

By  Edith  Helena,  Soprano  (In  English)  *  17346     lO-inch,          .75 

Now  comes  the   pathetic  death  scene   at  the  close  of  the  opera.     Butterfly,  convinced 

that  Pinkerton  has  renounced  her,  blindfolds  her  child  that  he  may  not  witness  her  suicide, 

takes  down   the  dagger  with  which   her   father  committed   hari-kari,  and  after   reading  the 

inscription   on   the    handle,   "  To   die  with    honor  when  one  can  no  longer  live  with  honor," 

she  stabs  herself. 

In  her  death  struggle  she  gropes  her  way  to  the  innocent  babe,  who,  blindfolded 
and  waving  his  little  flag,  takes  it  all  in  the  spirit  of  play.  The  tragic  intensity  of  this 

scene  always  moves  many  to 
tears. 

Miss  Farrar  puts  into  this 
final  number  all  the  pathetic 
despair  of  Cio-Cio-San  's  over- 
burdened heart,  her  rendition 
being  a  most  impressive  and 
wholly  pathetic  one.  Mme. 
Destinn  gives  a  most  dramatic 
interpretation  of  this  scene, 
perhaps  the  most  heartrending 
in  the  entire  range  of  opera, 
while  an  English  version  by 
Miss  Helena  is  offered. 

Pinkerton  enters  to  ask 
Butterfly's  forgiveness  and  bid 
her  farewell,  and  is  horrified 
to  find  her  dying.  He  lifts 
her  up  in  an  agony  of  re- 
morse. 

In  the  orchestra,  strangely 
mingling  with  the  American 
motive,  the  tragic  death 
motive  may  be  heard  as  the 
curtain  slowly  falls. 

Double-FaceJ  Record— See  page  225. 


VICTOR     BOOK    OF    THE     OPERA  — MADAM    BUTTERFLY 


DOUBLE-FACED  AND  MISCELLANEOUS  MADAM  BUTTERFLY  RECORDS 

Madame  Butterfly  Fantasie— By  Victor  Herbert's  Orch    70055     12-inch,  $1.25 
Madame  Butterfly  Selection  By  Victor  Orchestra     31631     12-inch,     l.OO 

This  selection  begins  with  the  entrance  music  of  Pinfcerton,  accompanied  by  the 
American  theme  for  which  Puccini  has  utilized  the  "  Star  Spangled  Banner." 

Then  in  succession  are  heard  the  gay  air  of  the  thoughtless  Lieutenant  (as  a  cornet 
solo)  in  which  he  describes  the  characteristics  of  his  countrymen ;  the  principal  strain  of  the 
love  duet  with  which  the  act  closes ;  the  exquisitely  poetical  "  Duet  of  the  Flowers,"  part 
of  which  is  given  on  the  orchestra  bells ;  and  the  beginning  of  the  supremely  beautiful  scene 
where  Butterfly,  her  maid  and  little  son,  take  their  places  at  the  window  to  watch  until 
morning  for  the  husband's  coming,  while  in  the  distance  can  be  heard  the  faint  voices  of 
singers  in  the  night,  producing  a  mournful  and  indescribable  effect. 

Then  from  the  last  scene  we  hear  the  return  of  Pinkerton  announced  just  as  Butterfly  has 
taken  her  life;  the  American  motif  strangely  contrasting  with  the  tragic  music  of  the  death 
scene ;  c...d  a  few  measures  of  the  final  curtain  music,  with  its  ancient  Japanese  melody. 

/Madame  Butterfly  Selection,  No.  1       By  Pryor's  Band  \  o  -  ,  ,  Q  ,,,•     i 

\     Bartered  Bride  Overture                                    By  Pryor's  Band }  351  12 -inch,  $1.25 
/Madam  Butterfly  Selection,  No.  2        By  Pryor's  Band 

By  Pryor's  Band 


By  Pryor's  Band     31697 


12-inch,     1.25 
12-inch,     1.00 
opera, 


\     Tannhauser  Selection 
Madame  Butterfly  Selection 

Two  fine  twelve-inch  selections,  composed  of  the   most  effective  portions  of  th 
and  splendidly  played,  as  usual,  by  this  fine  concert  band. 

Madame  Butterfly  Fantasie       By  Victor  Sorlin     'Cello     31696     12-inch,  $1.OO 

Some  of  the  most  beautiful  passages  in  this  fascinating  Puccini  opera  have  been 
combined  in  this  attractive  fantasie.  Among  the  themes  used  are  the  last  part  of  Butterfly's 
"Song  of  Devotion"  in  Act  11,  sometimes  called  the  "Vision  Song";  and  the  mournful  but 
beautiful  "  Waiting  Motive." 


What  a  Sky,  What  a  Sea     (Entrance  of  Butterfly,  Act  I) 
(In  English)  By  Edith  Helena,  Soprano 

Beloved  Idol     (Butterfly's  Death  Scene.  Act  II) 


(In  English) 


By  Edith  Helena,  Soprano 


17346      lO-inch,  $O.75 


BUTTERFLY   AND   SUZUKI    IN    THE   GARDEN 

225 


THE   BRILLIANT    MAGIC    FLUTE   REVIVAL  OF    IQll    IN    BERLIN 

(French)  (English) 

LA  FLUTE  ENCHANTEE     THE  MAGIC  FLUTE 

(Lah  Fleut  Ahn-shan-tay') 

(German)  (Italian) 

DIE  ZAUBERFLOTE          IL  FLAUTO  MAG  ICO 

(Dee  Tiow-ber-floe' -teh)  (Eel  Flai/.toh  Maj'-ee-koh) 

OPERA  IN  TWO  ACTS 

Libretto  by  Schickaneder,  adapted  from  a  tale  by  Wieland,  "Lulu,  or  the  Magic  Flute." 
Music  by  Wolfgang  Amadeus  Mozart.  First  produced  in  Vienna,  September  30,  1 791 ,  Mozart 
directing.  First  Paris  production  as  " Les  Mysleres  d'Isis,"  August  20,  1801.  First  London 
production,  in  Italian,  in  1811;  in  German,  1833;  in  English,  1838.  First  New  York  pro- 
duction April  1 1,  1833. 

Characters 

SARASTRO,  (Sahr-au'-troh)  High  Priest  of  Isis Bass 

TAMINO,  (Tah-mee'-noh)  an  Egyptian  Prince Tenor 

PAPAGENO,  (Pap-ah-gas1 '-W>)  a  bird-catcher Baritone 

THE  QUEEN  OF  NIGHT Soprano 

PAMINA,  (Pam^e'-nah)  her  daughter Soprano 

MONOSTATOS,  (Moh-no-stat-oss)  a  Moor,  chief  of  the  slaves  of  the  Temple 

of  Isis Baritone 

PAPAGENA,  (Pap-ah-gay-nah) Soprano 

FIRST  LADY,     )  ( Soprano 

SECOND  LADY,  [  attendants  on  the  Queen  of  Night \  Mezzo-Soprano 

THIRD  LADY,    J  (  Alto 

FIRST  BOY,        I  ,     ,  ,      ^,         ..  ,    ,   ,,-„.         ,          ( Soprano 

SECOND  B6Y,       bel°"g'ng  to ^e  Temple,  and   fulfilling  the          MePzzo.Soprano 

THIRD  BOY,     j  ( Alto 

Priests  and  Priestesses  of  the  Temple  of  Isis ;  Male  and  Female  Slaves ; 
Warriors  of  the  Temple,  Attendants,  etc. 


The  scene  is  laid  in  the  vicinity  of  and  in  the  Temple  of  Isis  at  Memphis.      The  action 
is  represented  as  taking  place  about  the  time  of  Ramses  I. 


VICTOR      BOOK     OF     THE     OPERA-THE     MAGIC     FLUTE 


"A  fantastic  fable  was  the  groundwork; 
supernatural  apparitions  and  a  good  dose  of 
comic  element  were  to  serve  as  garnish. 
But  what  did  Mozart  build  on  this  prepos- 
terous foundation?  What  godlike  magic 
breathes  throughout  this  work,  from  the 
most  popular  ballad  to  the  noblest  hymn! 
What  many-sidedness,  what  marvelous  va- 
riety !  The  quintessence  of  every  noblest 
bloom  of  art  seems  here  to  blend  in  one  un- 
equaled  flower." — Richard  Wagner. 

Strictly  speaking,  the  Magic  Flute  is  not 
an  opera,  but  rather  a  fairy  extravaganza  ac- 
companied by  some  of  the  most  delightful 
music  imaginable.  To  fully  appreciate 
Mozart's  work  it  should  be  heard  in  some 
German  town  on  a  Sunday  evening,  where 
middle-class  families  and  sweethearts  find 
much  enjoyment  in  the  mixture  of  mystery, 
sentiment,  comedy  and  delightful  music 
which  make  up  the  opera.  The  libretto  is, 
of  course,  utterly  absurd,  describing  as  it 
does  the  magic  of  the  pipes  of  Tamino  which 

had  the  power  to  control  men,  animals,  birds,  reptiles  and  even  the  elements,  and  as  the 
flute  is  continually  playing  throughout  the  -work,  the  results  may  be  imagined. 

Overture 

By  Pryor's  Band  *35135      12-inch,  $1.25 

By  La  Scala  Orchestra  *682O7     12-inch,     1.25 

The  overture  is  not  only  one  of  the  greatest  of  its  kind,  but  one  of  the  most  generally 
appreciated.  Its  wonderful  fugue,  "  in  which  Mozart  sports  with  f ugal  counterpoint  as 
though  it  were  mere  child's  play,"  is  played  by  the  band  in  a  striking  manner.  This  fugue 
is  announced  first  by  the  clarinets  and  a  few  bars  later  the  cornets  take  up  the  theme,  followed 
by  every  instrument  in  the  band  in  the  marvelous  finale. 
ACT  I 

The  scene  shows  a  rocky  landscape  with  the  Tem- 
ple of  the  Queen  of  the  Night  visible  in  the  background. 
Tamino,  an  Egyptian  prince  who  is  traveling  -with  his 
friends,  becomes  separated  from  them,  is  pursued  by  a 
huge  serpent,  and  finally  faints  from  fright  and  fatigue. 
Three  veiled  ladies,  attendants  on  the  Queen,  come  from 
the  Temple  to  his  rescue  and  stab  the  snake  with  their 
javelins.  While  they  go  to  tell  the  Queen  of  the  occur- 
rence, Tamino  revives,  sees  the  dead  serpent  and  hides  as 
he  hears  a  flute. 


Ein   Vogelf  anger    bin    ich  ja 
Catcher  Am  I) 


(A    Bird 


By  Otto  Goritz  (German)  64163  10-inch,  $1.00 
Papageno,   a   bird   catcher,    admirer   of    damsels,    and 
all-around   rogue,   enters  and  sings  a  merry  lay,  piping  at 

THE  THREE  LADIES  OF  THE  QUEEN       every  pause.     In  his   song   the   fowler  describes  his  oc- 
cupation  of  snaring  birds,  but  says  he  would  like  catching  women  better ! 
PAP, 


The   fowler  conies,   in   spite  of  rain, 

And   sing-s   his   song   in   merry   strain; 

This   merry  fowler,  too,   is  known 

By   young  and   old.   from   zone  to  zone. 

Knows   how   to   whistle  every   sound 

That  birds  may  sing  the  whole  year  round. 

Oh.  none  can  be  more  blithe  than   I, 

With  these  sweet  warblers  of  the  sky. 


The   fowler  comes,   in   spite   of   rain. 
And  sings  his  song  in  merry  strain: 
This  merry  fowler,   too,   is  known 
By  young  and  old,   from   zone  to  zone. 
A  net  for  maidens  I   should  like 
Would  catch   the   pretty  dears  by  dozens, 
I'd  shut  them  safely  up  at   home. 
And  never  let  them  forth  to  roam. 


"Double  Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  MAGIC  FLUTE  RECORDS,  page  230. 


VICTOR     BOOK     OF     THE     OPERA  —  THE     MAGIC      FLUTE 

In  the  part  of  Papageno  Mr.  Goritz  has  few  rivals,  and  his  impersonation  was  one  of  the 
great  features  of  the  recent  revival  at  the  Metropolitan. 

Tamino  now  comes  forward  and  gives  Papageno  credit  for  having  killed  the  serpent,  an 
honor  which  he  promptly  accepts.  The  three  ladies  now  return,  rebuke  Papageno  and  show 
Tamino  a  photograph  of  the  Queen  of  Night's  daughter,  the  lovely  Pamina,  who  has  been 
taken  from  her  mother  by  Sarastro,  the  Priest  of  /sis,  to  save  her  from  evil  influences.  Tamino 
falls  in  love  with  the  picture  and  offers  to  rescue  the  maiden.  He  is  given  an  all-powerful 
magic  flute,  and  accompanied  by  Papageno  sets  out  for  Sarastro's  palace. 

The  scene  changes  to  a  room  in  the  palace  of  the  High  Priest,  where  Pamina  is  dis- 
covered in  charge  of  Monostatos,  a  Moor. 

The  Moor  is  betraying  his  trust  by  persecuting  Pamina  with  his  attentions,  when  Papageno 
enters  and  frightens  him  away.  The  bird  catcher  then  tells  Pamina  of  Tamino's  love  for  her, 
and  offers  to  conduct  her  to  this  mysterious  lover. 

(Italian)  (German)  (English) 

La  dove  prende—  Bei  Mannern  —  Smiles  and  Tears 

By  Emma  Eames,  Soprano,  and  Emilio  de  Gogorza,  Baritone 

(In  Italian)     89OO3      12-inch,  $4.0O 
By  Johanna  Gadski,  Soprano,  and  Otto  Goritz,  Baritone 

(In  German)     88369      12-inch,    3.OO 

This  charming  duet,  with  its  grace  and  inimitable  gaiety,  introduces  the  melody  of  an 
old  German  song,  Bei  Mannern 

Smiles  and  Tears 


The  smile,  that  on  the  lip  is  playing, 
How  oft  'twill  hide  a  heart's  deep  woe! 

The  tear,   that  down  the  cheek  is  straying, 
From  purest  springs  of  joy  may  flow. 

And  smiles  and  tears,  so  legends  say, 

Make  up  the  sum  of  Life's  brief  day. 


Yet,  whilst  that  smile  the  brow  is  wreathing, 
One  word  shall  change  it  to  a  tear, 

And  one  soft  sigh's  impassion'd  breathing 
Shall   bid  the  tear-drop   disappear, 

When  each  alike  misleads  in  turn, 

Oh,   who  the  heart's  deep  lore  shall  learn! 


After  many  adventures  Tamino  and  Pamina  meet,  and  by  means  of  the  magic  flute  they  are 

about  to  escape,  but  are  interrupted  by  Sarastro, 
who  agrees  to  unite  the  lovers  if  they  will  remain 
and  be  purified  by  the  sacred  rites  ;  and  as  the 
priest  separates  them  and  covers  their  heads  with 
veils,  the  curtain  falls. 

ACT  II 

The  first  scene  shows  a  noble  forest  showing 
the  Temple  of  Wisdom.  The  priests  assemble,  and 
Sarastro  orders  the  lovers  brought  before  him.  He 
then  sings  this  superb  Invocation,  one  of  the  most 
impressive  numbers  in  the  opera. 

Invocation  (Great  Isis) 

By  Pol  Plan£on,  Bass      (Piano  ace.) 

(In  Italian)     85O42      12-inch,  $3.00 
By  Marcel  Journet,  Bass 

(In  French)     64235      10-inch,      l.OO 
By  Metropolitan  Opera  Chorus 

(In  German)     *45O51      lO-inch,     l.OO 
In  the   Invocation,  Sarastro   calls   on  the  gods 
Isis  and  Osiris  to  give  Tamino  and  Papageno  strength 
to  bear  the  trial  now  at  hand. 
Great  Isis,  great  Osiris! 

Strengthen   with  wisdom's  strength  this  tyro  pair; 
Ye   who   guide   steps   where   deserts   lengthen, 

Brace   theirs  with  nerve,   your  proof  to  bear! 
(•rant  them   probation's  fruit  all  living; 

Yet,   should  they  find  a  grave  while  striving, 
Think  on   their  virtues,   gracious   gods, 
Take   them   elect  to   your  abodes! 

site  side  see  DOUBLE-FACED  MAGIC  FLUTE  RECORDS,  page  230. 

228 


*  Double-Faced  Record- For  title  of  , 


VICTOR     BOOK     OF     THE     OPERA  — THE     MAGIC     FLUTE 


In  the  noble  role  of  Sarastro  Plancon  is  especially  effect- 
ive, and  his  dignified  impersonation  of  the  benignant  High 
Priest,  who  smooths  out  all  the  fantastic  tangles  in  the  situa- 
tions which  occur  in  Mozart's  opera,  is  always  singularly  im- 
pressive. 

The  lovers  are  admitted  to  the  Temple  and  begin  their 
probation. 

In  the  next  scene  Pamina  is  discovered  asleep  in  a  bower 
of  roses.  The  Queen  suddenly  rises  from  the  earth  and  gives 
Pamina  a  dagger,  telling  her  to  kill  Sarastro  or  Tamino  can 
never  be  hers.  Pamina  hesitates,  and  her  mother,  in  a  ter- 
rifying and  dramatic  song,  threatens  vengeance  on  all  con- 
cerned. 

Aria  della  Regina   (The  Queen's  Air) 

By  Bessie  Abott.  Soprano 

(In  Italian)      88O51      12-inch,   $3.00 
By  Maria  Galvany,  Soprano 

(In  Italian)     87059      10-inch,     2.00 

The  Queen  of  Night,  Astriflammante,  is  one  of  the  most 
striking  characters  in  Mozart's  opera,  and  the  few  numbers 
allotted  to  her  are  difficult  and  florid  ones.  This  great  aria 
is  one  which  the  most  experienced  of  sopranos  always  ap- 
proaches with  misgiving,  because  of  its  excessive  demands 
on  the  vocal  powers.  Miss  Abott  and  Mme.  Galvany  com- 
pletely meet  these  demands,  both  singing  the  air  gracefully 
and  with  superb  execution. 


ASTRIFLAMMANTE: 

The  pangs  of  hell  are  raging  in  my  bosom, 
Death  and  destruction  wildly  flame  around! 
Go  forth  and  bear  my  vengeance  to  Sarastro, 
Or  as  my  daurhter  thou  shall  be  disown'd! 
I  cast  thee  off  forever, 
Sarastro  enters  and  soothes  Pamina,  saying  that  he  •wi 


I  spurn  thee  and  renounce  thee, 
If  thou  dar'st  to  brave  my  wrath; 
Through  thee  Sarastro  is  to  perish! 
Hear,  gods  of  vengeance! 
Hear  a  mother's  vow!     (She  disappears.) 
take  a  righteous  revenge  on 


the 


Queen  by  obtaining  the  happiness  of  her  daughter.     He  then  sings  the  noble  Cavatina,  con- 
sidered one  of  the  greatest  of  bass  arias. 

Qui  sdegno  non  s'accende    (Within  These 
Sacred  Walls) 

By  Pol  Plancon,  Bass          (Piano  ace.  ) 

(In  Italian)     85O77      12-inch,  $3.OO 
By  Marcel  Journet,  Bass 

(In  French)      74266     12-inch,     1.5O 

In   this   number   Plancon  is  at  his  best,   and  the    noble 
strains  are  delivered  in   the  broad    sonorous  style  which   the 
music    requires,  while   a  splendid    rendition    by  Journet    in 
French  is  also  offered. 
SARASTRO:    Within  this  hallowed  dwelling 

Revenge  and  sorrow  cease; 
Here  troubled  doubt  dispelling, 
The  weary  heart  hath  peace. 
If  thou  hast  stray'd,  a  brother's  hand 
Shall   guide   thee   t'ward  the  better  land. 
This  hallow'd   fane   protects   thee 

From  falsehood,  guile  and  fear; 
A  brother's  love  directs  thee, 
To  him  thy  woes  are  dear. 

The  probationary  trials  of  the  lovers  continue  through 
many  strange  scenes,  in  one  of  which  Pamina  meets  Tamino, 
and  not  knowing  that  he  has  been  forbidden  to  speak  to  any 
woman,  cries  out  that  he  no  longer  loves  her.  She  then  sings 
this  pathetic  little  air,  which  Mme.  Gadski  has  interpreted 
here  so  beautifully. 


VICTOR     BOOK     OF     THE     OPERA  — THE     MAGIC     FLUTE 


Ah  lo  so  (All  Has  Vanished) 


By  Johanna  Gadski,  Soprano      (In  Italian) 

88254      12-inch,  $3.OO 

Mme.  Gadski  has  long  been  recognized  as  one  of  the 
foremost  exponents  of  Mozart  in  this  country.  The  music 
of  this  master  demands  singers  of  great  understanding  and 
feeling,  who  must  possess  not  only  voice  but  intelligence  and 
taste. 

That  Gadski  possesses  these  qualifications  in  ample 
measure  is  fully  apparent  to  all  who  listen  to  her  superb 
Mozart  reproductions. 

PAMINA:  Wretch  that  I  am,   too  well   I  know 

Nought  is  left  me  but  to  mourn, 
Condemn'd  to  drain  the  cup  of  woe, 
Joy  to  me  will  ne'er  return. 

Oh,   Tamino,   if  for  thee, 

My  sighs  and  bitter  tears  are  vain, 

Come,  kind  death,  in  pity  free 
My   weary   bosom   from   its  pain! 

Pamina,   thinking   Tamino   has  deserted  her,  wishes    to 
die,  and  tries  to  stab  herself  with  the  dagger  her  mother 
has  given  her,  but   is  prevented   by  the  three  boys,  or  genii 
(under  instructions  from   Sarastro),    who    assure    her    that 
Tamino  is  still  true  and  promise  to  conduct  her  to  him. 

Du  also  bist  mein  Braiitigam  ?     (Thou  Art  My  Bridegroom  ! ) 

By  Johanna  Gadski,  Soprano,  and  Mmes.  Sparks,  Case  and  Mattfeld 

(In  German)     88441      12-inch,  $3.00 

Mme.  Gadski  gives  the  strains  of  Pamina  in  her  usual  finished  style  while  the  music  of 
the  three  "  boys  "  is  sung  by  Mmes.  Sparks,  Case  and  Mattfeld,  with  voices  of  clear,  youth- 
ful timbre  which  exhibit  well  the  grace  and  brightness  of  Mozart's  music. 


PAMINA: 

Oh  dagger!  thou  are  my  bridegroom! 

By  thee  alone  I'll  end  my  care. 
THE  BOYS: 

Oh  woe!  what  said  Pamina  there? 

And  see,  she  is  to  madness  near. 
PAMINA: 

I  wish  to  die,  since  the  man, 

Whom  I  ne'er  can  hate, 

This  faithful  heart  will  thus  desert. 

(Tries  to  stab  herself.) 
THE  BOYS: 

Hold,  unhappy  one!  and  hear! 

Could  Tamino  see  thee  thus, 

He  with  sorrow  would  expire, 

For  he  fondly  loveth  thee. 


PAMINA    (recovers  herself)  : 

What!  did  he  feel  responding  love, 
And  yet  concealed  his  feelings? 

THE  BOYS: 

This,  alas,  we  must  not  tell, 
But  we  will  show  him  now  to  thee; 
And  with  wonder  thpu  wilt  see, 
That  his  heart  is  thine  alone! 

PAMINA  • 

Lead  me  forth!  I  wish  to  see  him! 

ALL: 

Come,  we  him  forthwith  will  seek. 
Two  hearts  that  truly  love, 
Can  human  weakness  never  part. 


The  trials  being  finally  completed,  the  lovers  are  united  in  the  sacred  Temple.  The  Queen 
and  her  accomplices  attempt  to  prevent  the  ceremony,  but  the  scene  suddenly  changes  to 
the  Temple  of  the  Sun,  where  Sarasiro  is  seen  on  his  throne  with  Tamino  and  Pamina 
beside  him,  while  the  baffled  Queen  and  her  train  sink  into  the  earth. 


DOUBLE-FACED  MAGIC  FLUTE  RECORDS 
By  Pryor's  Band 


By  Victor  Dance  Orchestra 

La  Scala  Orchestra),  a/>  „_ 
La  Scala  Orchestra^8207 


/Magic  Flute  Overture 
\     My  Queen  Waltz 
/Magic  Flute  Overture 
\     Meistersinger  Prelude 
O  Isis  und  Isiris      (Great  Isis) 

By  Metropolitan  Opera  Chorus 
Huguenots — Coro  di  Soldati     (Soldiers '  Chorus) 

By  Metropolitan  Opera  Chorus      (In  Italian) 


35135      12-inch,  $1.25 


12-inch,     1.25 


(In  German) 


45051      10-inch,      l.OO 


SETTING    OF    ACT 


(French) 

MANON 


OPERA  IN  FOUR  ACTS 

Words  by  Meilhac  and  Gille,  after  the  novel  of  Abbe  Prevost.  Music  by  Jules  Massenet. 
First  production  at  the  Opera-Comique,  Paris,  January  19,  1884.  First  London  production 
May  7,  1885;  in  English  by  the  Carl  Rosa  Company,  at  Liverpool,  January  17,  1885.  In 
French  at  Covent  Garden,  May  19,  1891.  First  American  production  at  New  York,  Decem- 
ber 23,  1885,  with  Minnie  Hauk,  Giannini  and  Del  Puente.  Some  notable  revivals  were 
in  1895  with  Sybil  Sanderson  and  Jean  de  Reszke ;  in  1899  with  Saville,  Van  Dyk,  Dufriche 
and  Plancon;  and  at  the  recent  production  (in  1909)  at  the  Metropolitan,  with  Caruso, 
Farrar,  Scotti  and  Note. 


Cast 

CHEVALIER  DES  GRIEUX  (sfcwW  deh  CreeV)  

COUNT  DES  GRIEUX,  his  father 

LESCAUT,   (Les-koh'}    Maaop's  cousin,  one  of  the  Royal  Guard 

GUILLOT  MORFONTEINTa  roue,  Minister  of  France 

DE  BRETIGNY,   (Bray-tee-fneeT)  a  nobleman 

MANON,  a  school  girl 

People,  Actresses  and  Students 


Tenor 

Bass 

Baritone 

Bass 

Baritone 

Soprano 


Time  and  place  :  1 721 ;    Amiens,  Paris,  Havre. 


The  story  of  Manon  is,  of  course,  taken  by  Massenet's  librettists  from  the  famous  novel 
of  the  Abbe  Prevost,  but  for  operatic  purposes  several  changes  have  been  made,  notably  in 
the  events  of  the  fourth  act,  which  takes  place  in  France  instead  of  America.  Although  the 
tale  is  very  well  known,  a  brief  sketch  will  be  included  here. 

Manon  is  a  country  girl,  gay,  pretty  and  thoughtless,  who  meets  a  handsome  young 
cavalier,  des  Grieux,  while  on  her  way  to  a  convent  to  complete  her  education.  He  falls  in 


1     FARRAR    AS    MANON 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  AS  S  E  N  ET' S    MAN  ON 

love  with  her  and  she  with  him  as  far  as  her  nature  will  allow,  and  when  he  tells  her  of  the 
gaieties  and  pleasures  of  Paris,  she  needs  little  persuasion  to  induce  her  to  elope  with  him 
to  the  Capital,  to  the  chagrin  of  Guillot,  whose  carriage  the  lovers  appropriate. 

Soon  tiring  of  love  in  a  cottage,  however,  the  young  girl  encourages  the  attentions  of  a 
rich  nobleman,  de  Bretigny,  and  when  des  Grieux  is  taken  away  forcibly  by  his  father,  she 
siezes  the  opportunity  and  leaves  with  her  new  lover. 

In  Act  111  she  learns  that  des  Grieux,  despondent  because  of  her  faithlessness,  has  resolved 
to  enter  a  monastery.  Her  fickle  affections  turn  again  to  him,  and  she  visits  him  at  the 
Seminary  of  St.  Sulpice.  He  at  first  repulses  her,  saying  his  love  is  dead,  but  is  unable  to 
resist  her,  and  they  depart  together. 

The  next  act  occurs  in  a  gambling  house,  where  des  Grieux  is  endeavoring  to  win  money 
to  support  Manon  in  the  luxury  she  demands.  Guillot,  in  revenge  for  the  trick  played  on 
him  in  Act  I,  causes  their  arrest,  des  Grieux  for  cheating  and  Manon  as  a  dissolute  woman. 

The  last  scene  occurs  on  the  road  to  Havre,  where  des  Grieux  and  Lescaut,  Manon' s 
cousin,  plan  to  rescue  Manon  as  she  is  being  taken  to  the  ship,  en  route  to  the  prison  colony 
in  Louisiana.  The  soldiers  appear,  but  it  is  a  dying  Manon  they  escort,  and  the  unfortunate 
girl,  after  repenting  and  asking  forgiveness  of  des  Grieux,  dies  in  his  arms. 

ACT  I 

SCENE  I — Courtyard  of  an  Inn  at  Amiens 

As  the  curtain  rises  the  crowd  of  villagers,  including  Lescaut,  are  waiting  the  coming 
of  the  coach,  which  presently  arrives  and  discharges  Manon.  The  young  girl  regards  the 
animated  scene  with  much  interest,  and  soon  espies  Lescaut,  her  cousin,  who  was  to  meet 
her  at  this  point  and  escort  her  to  the  convent  school.  He  greets  her  and  compliments  her 
on  her  charming  appearance.  She  blushes  and  then  artlessly  tells  him  of  her  impressions 
during  the  journey  from  her  country  home.  The  scene  from  this  point  has  been  recorded 
by  the  Scala  singers. 

Restate  qui  CWait  a  Moment) 

By  Elisa  Tromben,  Soprano;  Federico  Federici,  Tenor:  G.  Pini-Corsi, 

Tenor;   Riccardo  Tegani,  Baritone  (In  Italian)  *55OOO      12-inch,     $1.5O 

Lescaut  asks  Manon  to  excuse  him  for  a  while  as  he  must  go  to  see  after  her  luggage. 

LESCAUT  (to  Manon)  : 
Wait  a  moment. 
Be  prudent;  I  am  going  to  find  your  luggage. 


•Double-Faced  RecorJ-For  title  of  opposite  side  see  DOUBLE-FACED  MANON  RECORDS,  page  240. 

233 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  AS  S  E  N  ET  *S    MAN  ON 

He  goes  out,  and  the  townspeople  desert  the  square,  leaving  Manon  alone.  The  roue, 
Guillot,  appears  on  the  balcony  of  the  hotel,  crying :  "  Miserable  landlord !  Are  -we  never  to 
have  any  wine?  '" 

He  sees  Manon,  and  his  evil  eyes  light  up  at  this  vision  of  youth  and  beauty. 

GUILLOT:  DE   BRETIGNY: 

Heavens!       What     do     I     see?       Young     lady!         This  time  I  swear  the  dog  has  by  chance  found 

Ahem!     Ahem!      Young  lady!  a  prize. 

(Aside)  Never    did    sweeter    look    light    up    a    woman's 

Really,  my   head  is  turning  round!  face! 

,,  f     -j          j  •  Now  then,  Guillot,  let  the  girl  alone  and  come 

MANON    (aside  and  laughing):  in      We  are  calling  you. 

What  a   funny   man!  GUILLOT: 

GUILLOT:  Ay,  ay    in  a  moment. 

Young  lady,    I   am   Guillot   de   Morfontaine.      I         Uo  Manon): 
am  rich  and  would  give  a  good  deal  to  hear    _  Mv,  l»"le  one,  give  me  a  word, 
a    word    of    love    from    you.      Now,    what    do    DlL  BRETIGNY  : 
you  say  to  that?  „  Guillot    let  the  girl  alone. 

GUILLOT    (softly  to  Manon): 

MANON:  A   postillion   is  coming  directly;   when   you   see 

That  I  should  be  ashamed,  if  I  were  not  more  him,    understand   that   a   carriage    is    at    your 

.   disposed  to  laugh.  service.      Take   it,    and   afterwards   you    shall 

DNoBvvEtThen,Ybuillot,   what's  the  game?  We  are    ^wSo™ vT^vV"'  """"°  = 

waiting   for  you.  GUILLOT   (confused)': 

GUILLOT:  T  Oh.   s>r!   nothing,   sir! 

Oh,   go  to  the   Devil.  LESCAUT    (boisterously): 

Oh,  sir!     Did  you  say — 

POUSETTE    (to   Guillot):  GUILLOT    (returning  to   the  pavillion)  : 

Are  you  not  ashamed?     At  your  age!  Nothing,   sir,   I    said. 

Guillot  is  frightened  by  the  gruff  soldier,  to  the  amusement  of  the  bystanders,  who 
laugh  at  the  baffled  libertine  until  he  flees  in  confusion. 

Lescaut  now  warns  Manon  to  beware  of  the  men  she  may  meet. 

LESCAUT   (to  Manon):  SECOND   GUARDSMAN: 

He  spoke  to  you,  Manon.  Both  cards  and  dice  are  waiting  your  pleasure 

MANON    (lightly)  :  below. 

Well,  can  you  say  'twas  my  fault?  LESCAUT: 

LESCAUT:  I  come;  but  first  to  this  young  lady,  with  your 

That's  true;   and  in   my   eyes  you   are   so  good  leave,    good    sirs, 

that   I    won't  trouble  myself.  I    must    speak    some    words    of   counsel    full    of 

(The  two  guardsmen  enter.)  wisdom. 

FIRST   GUARDSMAN    (to  Lescaut)  :  GUARDSMEN    (in  mock  resignation)  : 

How  now!     Thou  comest  not!  To  his  wisdom  we'll  listen. 

Mi  raccomando  CWait  for  rVle) 

By  Elisa  Tromben,  Soprano ;  Federico  Federici,  Tenor ;  Chorus 

(In  Italian)  *550OO     12-inch,     $1.5O 

The  young  girl  promises  to  be  prudent  and  Lescaut  leaves  with  the  guardsmen. 

LESCAUT    (to   Manon):  Should  whisper  folly  in  your  ear, 

Give   good  heed  to  what  I  say —  Behave  as  though  you   did  not   hear. 

Duty  calls  me  now  away,  For  safety's  sake  adopt  that  plan. 

To   consult   these   comrades   here  (To  the  Guardsmen,  aside) 

Upon  a  point  that's  not  quite  clear.  Now    let    us    go    and    see    on    which    of    us    the 

Wait  for  me,  Manon,  just  a  moment,  no  more.             goddess    of   the    game    will    look    with    loving 

Make  no  mistake,  but  prudent  be,  eyes. 

And  if,  forsooth,   some  silly  man  (They  go  out.) 

Des  Grieux  now  enters,  and  seeing  Manon,  is  much  impressed  with  her  beauty  and 
modest  bearing.  He  addresses  her  respectfully,  beginning  the  lovely  duet,  Etje  sais  votre  nom. 

Et  je  sais  votre  nom  (If  I  Knew  But  Your  Name) 

By  Mile.  Korsoff,  Soprano,  and  Leon  Beyle,  Tenor 

(In  French)   *  165  51      lO-inch,      $O.75 

The  young  girl  answers  simply,  but  feels  herself  strangely  drawn  to  the  young  student. 
The  transition  from  strangers  to  lovers  is  a  quick  one,  as  will  be  seen  by  the  translation. 

DES  GRIEUX:  r>f:s  r'RIE(ux   (with  emotion): 

If  I  knew  but  your  name —  MANOS    (a  tide)- 

MANON    (with   simplicity):  '    How  tender  are  his  ]ooks> 

1   a™  called  Manon.  IIow   delightful   his  voice  to  my   soul! 


*Double-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FACED  MANON  RECORDS,  page  240. 

2o4 


VICTOR    BOOK    OF    THE    OPER  A—  M  ASSENET'S    MANON 

DES  GRIEUX:  DES  GRIEUX   (.with  ardor): 

All   my  fond  foolish  words,  No,    I    will    not    believe    that    fate    can    be    so 

I  pray  you  forgive!  hard! 

MANON    (naively):  That  one  so  young  and  so  fair  can  be  destined 

How    condemn    your    words    when    they    charm  to  dwell  in  a  living  tomb. 

my  heart;  MANON: 

To  my  ears  they  are  music'  But  'tis,  alas!   the  sovereign  will   of  Heaven, 

Would  to   Heav'n   such   language   were  mine,  To  whose  service   I'm   devoted, 

You   fit  answer   to  make.  And  no  one  from  this  fate  can  deliver  me. 

DES  GRIEUX   (in  a  transport  of  jo\):  DES  GRIEUX   (firmly): 

Lovely    enchantress,    all-conquering    beauty,  No,    no!      Not    from    you,    Manon,    shall    hope 

Manon,    from    henceforth    thou   art    mistress   of  and  joy  be   torn. 

my  heart!  MANON   (joyfully): 

MANON:  Oh,  Heaven! 

Oh!   what  joy!  DES  GRIEUX: 

I'm    henceforth   the   mistress   of   his  heart!  For    on    my    will    and    power    you    can    safely 

DES  GRIEUX:  depend. 

Ah,   speak  to   me!  MANON    (with  energy): 

MANON-  Ah!  to  vou  I  owe  *ar  more,  far  more  than  life. 

'    I  am  'only  a  simple  maiden.  DE?u9R^UX   </>««""««"#•>  : 

(Smiling)  Ah!    Manon,   you   shall   never  leave  me   now! 

Believe  me    I'm  not  wicked  Since  I  would  gladly  roam  thro'  all  the  world, 

But   I   often   am   told  by   those  at  home,  ^JF*08   for  yoU-,   love-'   an   unknown    retreat. 

That   I   love  pleasures  too  well;  ™And  carry  you  there  ln  my  arms' 

(Sadlv)  MANON: 

I   am'now  on   my  way  to  a  convent,  To  you,  my  life  and  my  soul! 

That,    sir,    is   the   story   of   Manon,  r^TV°U  *  g'VC  my  Me  f°r  evermore! 

(With  simplicity)  DES  GRIEUX: 

Of   Manon  Lescaut!  Light  of  my  soul!   Manon 

The  mistress  of  my  heart  for  evermore! 

Manon  now  observes  the  carriage  of  Guillot,  which  had  been  offered  her,  and  suggests 
that  they  take  it  and  fly  together.  Des  Grieux  joyfully  agrees  and  they  sing  their  second  duet. 

Nous  vivrons  a  Paris  ("We  "Will  Go  to  Paris) 

By  Mile.  Korsoff,  Soprano,  and  Leon  Beyle,  Tenor 

(In  French)   *45009      lO-inch,     $1.00 

MANON  AND  DES  GRIEUX:  Evermore  bliss  is  ours, 

We   to   Paris   will   go.      Heart  to   heart!  And   with   love's  sweetest  flow'rs 

And,    though   fortune    may    frown,    never    part!         Will   we   crown   the   bright   hours! 

Hearing  Lescaut  's  voice  from  within  the  hotel,  where  he  has  been  gambling,  the  lovers 
hastily  enter  the  carriage  and  drive  off,  while  Guillot  swears  revenge  and  Lescaut  bewails  his 
double  loss  of  money  and  cousin. 

ACT  II 

SCENE  —  Apartment  of  Des  Grieux  and  Manon  in  Paris 

Des  Grieux  is  writing  at  a  desk,  while  Manon  is  playfully  looking  over  his  shoulder. 
He  tells  her  he  is  writing  to  his  father  : 

DES  GRIEUX:  DES  GRIEUX: 

This  letter's  for  my  father,  and  I   tremble  lest         Yes,   Manon,   I'm   afraid. 

he   should   read  in   anger  what   I   write   from  MANON: 

my    heart.  Ah,  well,  then   we'll  read  it  together. 

MANON:  DES  GRIEUX: 

You  are  afraid?  Yes,   that's  the  way.     Together  we'll   read. 

On  1'appelle  Manon  (She  is  Called  Manon) 

By  Farrar,  Soprano,  and  Caruso,  Tenor        (In  French)        89O59      12-inch,      $4.OO 
By  Mile.  Korsoff,  Soprano,  Beyle,  Tenor     (In  French)     *45OO9     lO-inch,        l.OO 

Continuing  this  charming  scene,  she  takes  the  letter  from  him  and  reads  with  simplicity  : 


MANON- 
' 


MANON: 


- 
She  'is  called   Manon,   and  is  young  and  fair.         }^thj,s  VT?     Ah>   *  k"eW  '*  "°L 

I^S  SLStfftSSS,  -Sc  fcK    fipftKr  to.  -oh  ...»  iovrf. 

rdhjr./c.J'1  h-  «-  'hi-  2£sWiS»fi±?i  —  *.. 

DES  GRIEUX    (ardently):  Come,    come,    good    sir,    there's    more    to    read 

In   her  eyes  shines  the  tender  light  of  love.  yet 


"Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  MANON  RECORDS,  page  240. 

235 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  AS  S  E  N  E  T '  S    MANON 

DES  GRIEUX:  DES  GRIEUX: 

"Like    a    bird    that    through    all    lands    follows  Yes;    he    will    never    in   such   a   matter   as    this 

the  spring,  so  her  young  soul  to  life  is  ever  oppose   me. 

open.       Her     lips,     like     flowers,     smile     and  MANON: 

speak  to  the  zephyrs  that  kiss  them  in   pass-  Dost  thou   jes;re  jt? 

MANoif '  (repeating)-  DES  GRIEUX: 

"To    the    zephyrs 'that    kiss  them    in    passing."         I   desire   it,   with   all  my   soul! 
(Pensively")  MANON: 

Do    you    think   your    father  will    give    his   con-         Then  embrace   me,   Chevalier.    (They  embrace.) 
sent?  And  now,  go; — send  thy  letter. 

Des  Grieux  starts  to  go,  but  seeing  some  beautiful  flowers  on  the  table  asks  who  sent 
them.  Manon  replies  evasively,  and  asks  if  he  does  not  trust  her  and  if  he  is  jealous.  He 
assures  her  of  his  perfect  confidence. 

A  noise  is  heard  outside,  and  Lescaut,  accompanied  by  de  Bretigny,  a  French  nobleman, 
enters,  the  former  loudly  demanding  satisfaction  from  des  Grieux  for  the  abduction  of  his 
cousin.  Des  Grieux  at  first  defies  him,  but  remembering  that  he  is  a  member  of  Manon 's 
family,  shows  him  the  letter  he  had  written  to  his  father  asking  her  hand  in  marriage. 
Lescaut  engages  him  in  conversation,  thus  giving  de  Bretigny  an  opportunity  to  speak  to  Manon 
aside.  He  tells  her  that  des  Grieux  is  to  be  carried  off  by  his  father  that  night,  and  urges  her 
to  fly  with  him.  Tempted  by  the  thoughts  of  wealth  the  young  girl  hesitates.  Lescaut  now 
loudly  expresses  satisfaction  with  the  attitude  of  des  Grieux,  and  departs  with  de  Bretigny. 

Des  Grieux  goes  out  to  post  the  letter  and  Manon  struggles  with  the  temptation  which 
has  come  to  her ;  the  pathetic  air,  Adieu  noire,  petite  table,  indicating  that  she  is  yielding. 

Adieu  notre  petite  table  (Farewell  Our  Little  Table) 

By  Geraldine  Farrar,  Soprano  (In  French)      88146     12-inch,     $3.00 

By  Mme.  Vallandri,  Soprano,  and  Leon  Beyle,  Tenor 

(In  French)     *45OO8     lO-inch,        1.00 

NOTE.— In  record  45008  Mme.  Vallandri  sings  a  portion  of  the  "  Farewell  "  solo  and  this  is 
followed  by  the  short  duet  which  precedes  the  "  Dream." 

She  regards  the  little  table  at  which  they  had  served   their   simple   meals. 

MANON : 

Farewell,  our  pretty  little  table!     So  small  and  space  we  lovers  filled.     A  single  glass  served 

yet   so   large   for   us.      Side  by   side   so   often  both    of    us,    and    each,    in    drinking,    sought 

there    we've    sat.       (With    a    sad    smile.)       I  upon    its   margin    where   dear    lips   had   been, 

smile    as    now    I    call    to    mind    what    narrow  Ah!    best   of    friends,    how    thou    hast    loved! 

Hearing  des  Grieux  approaching,  she  hastily  tries  to  conceal  her  tears.  He  observes 
them,  however,  and  tries  to  soothe  her  by  relating  a  dream  he  has  had. 

(Italian)  (English)  (French) 

II  sogno — The  Dream — Le  Reve 

By  Enrico  Caruso,  Tenor  (In  Italian)  81031  lO-inch,  $2.OO 

By  Edmond  Clement,  Tenor,  (In  French)  74258  12-inch,  1.5O 

By  Fernando  de  Lucia,  Tenor  (Piano  ace.)      (In  Italian)  66O01  lO-inch,  1.5O 

By  John  McCormack,  Tenor  (In  Italian)  64312  lO-inch,  l.OO 

By  Leon  Beyle,  Tenor  (In  French)  *45O08  lO-inch,  l.OO 

"  Listen,  Manon,"  he  cries,  "  On  my  way  1  dreamed  a  lovely  dream." 

DES  GRIEUX:  'Tis  paradise!      Ah,   no, 

With   fancy's  eye  I  saw,   Manon,  All  is  sad,   so   sad  and  dreary, 

A  sweet  and  lowly  cot.  For,   O   my   only   love,   thou   art  not  there. 

Its  white   walls,   deck  d  with  flowers  fair,  ,, 

Gleam'd   thro'   the   wood!  MA£.ON    (taftly): 

Beneath    whose   peaceful    shadows  lis  a  vision,     tis  but  a  fancy! 

Ran   clear  the  babbling  brook,;  DES  GRIEUX: 

Overhead,    'mid   verdant   leaves  No!    for   thus   we'll    pass   our  life, 

Sang  so   sweet  and   full   the  joyous  birds,                    If  but  thou   wilt,   O  Manon! 


"Double-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FACED  MANON  RECORDS,  page  240. 


VICTOR      BOOK      OF     THE      OPERA  — MASSENET'S     MANON 


A  knock  is  heard  and  Manon  exclaims,  aside,  "  Oh,  Heaven,  already  they  have  come 
for  him  !  "  She  tries  to  prevent  him  from  opening  the  door,  but  he  insists,  and  is  seized 
and  carried  away,  while  Manon,  suddenly  repenting,  is  overcome  with  grief. 

ACT  III 

SCENE— A  Street  in  Paris  on  a  File  Day 

Manon  enters,  accompanied  by  de  Bre"tigny  and  several  gallants.  She  is  in  a  gay  mood  and 
extols  youth  and  love  in  a  fine  vocal  gavotte. 

Gavotte — Obeissons  quand  leur 
voix  appelle  (Hear  the  Voice 
of  Youth) 

By  Geraldine  Farrar,  Soprano 

(In  French)      87O23      lO-inch,     $2.0O 
By  Frances  Alda,  Soprano 

(In  French)     87111      lO-inch,       2.0O 

MANON: 

List  to  the  voice  of  youth  when  it  calleth, 

It  bids  ye  to  love  for  aye! 

And  ere  the  pride  of  beauty  falleth, 

Love   then   while   you   may. 

Profit  then  by  'the  time  of  youth, 

And  do  not  stay  to  count  the  days, 

Remember   well   this  adage — be   merry  and  gay 

always! 

The   heart,  alas,  to  love  is  e'er  willing, 
And  ever  willing  to  forget, 
So  while   its  pulse  is  thrilling, 
Love,   ere  its  day  hath  set! 

Manon,  seeing  des  Grieux' s  father,  timidly  ap- 
proaches him  and  asks  if  des  Grieux  has  forgotten 
her.  She  learns  that  the  young  man  has  for- 
given her,  buried  his  love,  and  is  planning  to  enter 
a  monastery.  When  the  Count  has  departed,  the 
capricious  girl  resolves  to  go  to  St.  Sulpice  and 
see  for  herself  if  she  has  been  so  easily  forgotten ; 
and  as  the  curtain  falls  she  is  calling  to  Lescaut  to  conduct  her  thither. 

SCENE  II— Reception  Room  at  St.  Sulpice 

At  the  beginning  of  this  scene  the  Count  pleads  with  his  son  not  to  retire  from  the 
world,  but  des  Grieux  says  he  is  resolved,  and  his  father,  after  promising  him  one  hundred 
thousand  francs,  takes  a  sorrowful  leave. 


COUNT: 

One  word  more.     As  it  is  not  certain  that  thou 
wilt  not  be  an  abbot  to-morrow,   I  shall  send 
thee  at  once  a  hundred  thousand  francs. 
DES  GRIEUX: 

Father! 
COUNT: 

The     money     is     thine.       It     comes     from 

mother.     And  now,  farewell,  my  son! 
DES  GRIEUX: 

Farewell!     Farewell! 
COUNT: 

Farewell!    Remain  to  pray.          (Exit.) 


hy 


DES   GRIEUX: 

Nothing   shall   stop   me    from   pronouncing   my 

vows. 
COUNT: 

Thou  art  resolved? 
DES  GRIEUX: 

I  am  resolved. 
COUNT: 

So  be  it.      I   will   go   and   announce  to  all   that 
we    have    a    saint    in    the    family.      Whether 
any  one  will  believe  me  is  doubtful. 
DES  GRIEUX: 

I  pray  you,  sir,  do  not  mock  me! 
Left  alone,   des  Grieux  sings   his  lovely  song  of  renunciation,  which  the  Victor  offers  in 
Italian  and  French  by  three  famous  tenors. 

(French)  (Italian)  (English) 

Ah,  fuyez,  douce  image! — Dispar,  vision — (Depart,  Fair  Vision!) 

NOTE — The  Caruso  record  is  preceded  by  the  Recitative,  "  Je  suis  seul"  (Alone  at  Last!) 

By  Enrico  Caruso,  Tenor                                        (In  French]      88348      12-inch,  $3.OO 

By  Gino  Gio van nelli,  Tenor                                  (In  Italian)  *55O01      12-inch,  1.5O 

By  M.  Rocca,  Tenor                                                (In  French)  *  165 75      lO-inch.  .75 

*Double-FaceJ  Record —For  title  of  opposite  side  see  DOUBLE-FACED  MANON  RECORDS,  page  240. 

237 


VICTOR    BOOK    OF    THE     OPER  A— M  ASSENET'S    MANON 

He  declares  he  will  now  seek  the  peace  of  mind  which  only  faith  in  Heaven  can  give. 

DBS  GRIEUX:  I'm  alone  at  last!  The  supreme  moment  now  has 
come.  From  earthly  ties  I'm  free,  and  only  seek  the  rest 
which  faith  in  heaven  can  give! 

Ah!    depart,   image   fair, 

Leave   me   now   at   rest; 

Have  regard  to  my  prayer, 

Ease    my    poor    tortured    breast. 

To  the  dregs  I  have  drain'd 

Life's  most   bitter  cup, 

Nor   to   Heaven   once   complain'd, 

Though    heart's   blood   filled   it  up. 

Dead   to   me   now   are   love   and   all  that  men  call  glory.     I  de- 

which  haunts  me!  Oh  Heaven!  with  flame  all  searching, 
my  soul  now  purge  from  stain !  Oh !  let  thy  pure  and  glo- 
rious light  chase  far  away  the  gloom  that  lays  on  my  heart. 

He  goes  slowly  out  and  Manon  enters,  shuddering  at  the  gloomy  walls  and  wondering 
if  her  lover  has  quite  forgotten  her.  Des  Grieux  soon  returns  and  is  astounded  to  see  Manon, 
bidding  her  begone,  saying  his  love  is  dead.  She  says  she  cannot  believe  it. 


MANON: 

These    eyes     that    oft    thou    hast    kissed     with 
ardor,   do  they  shine  no  more,   even  through 


my  weeping!  Am  I  not  myself?  Do  not 
turn  away,  but  look  on  me.  Am  I  not 
Manon? 


Des  Grieux  is  deeply  moved,  but  asks  Heaven  for  strength  to  resist  her.  Her  plead- 
ings finally  have  their  effect,  and  he  cries :  "Ah !  Manon  !  No  longer  will  1  struggle  against 
myself !  "  and  they  depart  together. 


THE    GAMBLING    SCENE ACT    IV 


ACT  IV 

SCENE— A  Gambling  Room  in  Paris 

Des  Grieux  has  been  persuaded  by  Manon  to  come  to  this  place  in  the  hope  of  winning  money 
to  satisfy  her  desire  for  luxury.  He  plays  for  high  stakes  and  wins  large  sums  from  Guillof, 
•who  leaves  in  a  rage.  As  des  Grieux  is  showing  Manon  the  gold  he  has  won,  a  loud  knock- 
ing is  heard  and  the  police  enter  with  Guillot,  who  denounces  des  Grieux  as  a  swindler  and 
Manon  as  his  accomplice.  They  are  arrested  and  taken  to  prison,  but  des  Grieux  is  after- 
ward released  through  his  father's  influence,  while  Manon  is  ordered  to  be  deported  to 
America  by  way  of  Havre. 


VICTOR    BOOK    OF    THE    O  P  E  R  A— M  A  S  S  EN  ET  '  S    MAN  ON 


ON    THE    HAVRE    ROM 


Manon,  la  catena  (Manon  in  Chains !) 


Concertato  finale — 
O  dolor 

By  Aristodemo  Giorgini, 
Tenor ;  A.  Santoro,  So- 
prano; S.  Nicolicchia, 
Baritone ;  and  Chorus 

(In  Italian) 
87083      10-inch,     $2.0O 

ACT  V 

SCENE— On  the  Road  to  Havre 
Des  Grieux  and  Lescaut  are 
on  the  Havre  road,  waiting 
for  the  soldiers  who  are  es- 
corting the  prisoners  to  the 
ship  bound  for  America,  des 
Grieux  having  conceived  the 
mad  idea  of  rescuing  Manon. 
Beginning  the  duet  he  sings 
his  sad  and  remorseful  air, 
Manon  in  Chains  I 


By  Remo  Andreini,  Tenor ;  Riccardo  Tegani,  Baritone ;  and  Chorus 

(Double-Faced,  see  page  240)      (In  Italian)     55OO1      12-inch,     $1.5O 

DES   GRIEUX    (discovered  seated   by   the  wayside) : 

Manon,  poor  Manon !  Must  I  see  thee  herded  with  these  wretched  beings  and  be  power- 
less to  aid?  O  Heaven!  Merciless  Heaven!  Must  I  then  despair!  (He  sees  Lescaut 
approaching.)  He  comes!  (Advancing  impetuously  to  Lescaut.)  Thy  fellows  now 
make  ready;  the  soldiers  will  soon  reach  this  place.  Thy  men  are  fully  armed;  they 
will  rescue  Manon  and  give  her  back  to  me!  What!  can  it  not  be  done?  Are  all  my 
fond  hopes  vain?  Oh!  why  dost  thou  keep  silence? 

Lescaut  hesitates  and  finally  says : 
LESCAUT: 

Sir,  I  have  done  my  best — 
DES  GRIEUX  (anxiously): 

Go  on! 
LESCAUT: 

And  grieve  to  say  that  all  is  lost. 
DES  GRIEUX   (piieously)  : 

Lost! 
LESCAUT: 

Scarce  had  the  sun  shone  on  the  arms  of  the 

soldiers  ere  all   our  men  fled! 
DES  GRIEUX   (distracted)  : 

'Tis    false!       'Tis    false!       Great    Heaven    hath 
taken  pity  on  my  suffering,  and  at  last  comes 
the  hour  expected!     In  a  moment  my  Manon 
shall   be   free! 
LESCAUT   (sadly) : 

Since  I   have  told  the  truth— 
DES  GRIEUX  (about  to  strike  him)  : 

Away! 
LESCAUT: 

Strike    if   y9u    will.      'Tis   soldier's   fare.      He's 
by  the   King  ill-paid:   and  then,   whate'er   his 
worth,   the   good   folks   shake   their   head   and 
call    him    "wretched    fellow." 
DES  GRIEUX    (violently)  : 
Away! 

The  voices  of  the  soldiers  are  now  heard  in  the  distance  singing  as  they  ride.  Des 
Grieux  and  Lescaut  listen  attentively,  and  the  former,  realizing  that  they  are  almost  at  hand, 
madly  tries  to  rush  forward.  Lescaut  dissuades  him,  saying  he  has  a  better  plan,  as  he  is  well 
acquainted  with  the  officer  in  command.  When  the  escort  arrives,  Manon  is  found  to  be 
very  ill  and  is  left  behind  by  the  officer  at  Lescaul's  suggestion.  During  a  heart-rending 
scene  Manon  asks  and  receives  the  forgiveness  of  des  Grieux,  repents  her  sins  and  dies  in 
his  arms. 

239 


VICTOR    BOOK    OF    THE     O  PE  R  A— M  AS  S  EN  ET'S    MANON 


DOUBLE-FACED  AND  MISCELLANEOUS  MANON  RECORDS 


Restate  qui  ("Wait  a  Moment)  By  Elisa  Tromben, 

Soprano;    Federico  Federici,  Tenor;    G.  Pini-Corsi, 

Tenor ;  Riccardo  Tegani,  Baritone      (In  Italian) 
Mi  raccomando  ("Wait  for  Me)  By  Elisa  Tromben, 

Soprano;  Federico  Federici,  Tenor,  and 

La  Scala  Chorus     (In  Italian) 

lo  son  solo    (I'm  Alone  at  Last) 

By  Gino  Giovannelli,  Tenor     (In  Italian) 
Manon,  la  catena  (Manon  in  Chains !)    By  Remo  Andreini, 
Tenor  ;  Riccardo  Tegani,  Baritone,  and 

La  Scala  Chorus     (In  Italian) 

Oous  vivrons  a  Paris   (We  "Will  Go  to  Paris) 
By  Mile.  Korsoff,  Soprano;  Leon  Beyle,  Tenor 
n  1'appelle  Manon    (She  is  Called  Manon)  By  Mile. 

Korsoff,  Soprano  ;  Leon  Beyle,  Tenor     (In  French) 

I  Adieu,  notre    petite    table    (Farewell,  Our  Little  Table)     ] 
By  Mme.  Vallandri,  Soprano ;    Leon  Beyle,  Tenor     I 
(In  French)l 
Le  reve    (The  Dream)         By  Leon  Beyle,  Tenor     (In  French)) 

Et  je  sais  votre  nom  (If  I  Knew  But  Your  Name) 

By  Mile.  Korsoff,  Soprano ;    Leon  Beyle     (In  French) 
Fa\>orita — Splendon  piu  belle  in  del  le  stelle    (In  //ecru  'nly 
Splendor)     By  Peretlo  de  Segurola,  Bass,  and 

La  Scala  Chorus     (In  Italian) 

I  Ah !  fuyez  douce  image  !  (Depart  Fair  Vision)  ] 

By  M.  Rocca,  Tenor     (In  French)  \  16575 
Carmen  Selection     (Bizet)  By  Pryor's  Band] 


55OOO  12-inch,  *1.5O 


55OO1   12-inch,   1.5O 


45009   10-inch, 


lO-inch,   l.OO 


16551   10-inch,    .75 


10-inch,    .75 


SETTING  OF   ACT   I   AT  THE   METROPOLITAN 

MANON'LESCAUT 

(Man-on' 


OPERA  IN  FOUR  ACTS 

Music  by  Giacomo  Puccini,  the  libretto  (founded  on  Abbe  Prevost's  novel)  being 
mainly  the  work  of  the  composer  and  a  committee  of  friends.  English  version  by 
Mowbray  Marras.  First  presented  at  Turin,  February  1,  1893.  Produced  atCovent  Garden, 
May  14,  1894.  First  important  New  York  production,  January  18,  1907. 


Characters 

MANON  LESCAUT.  .  ..............................................  Soprano 

LESCAUT,  sergeant  of  the  King's  Guards  ...........................  Baritone 

CHEVALIER  DES  GRIEUX  (deh  Gree.uay)  .............................  Tenor 

GERONTE  DE  RAVOIR,  Treasurer-General  .............................  Bass 

EDMUND,  a  student  ................................................  Tenor 

An  Innkeeper,  a  Singer,  a  Dancing-master,  a  Sergeant,  a  Captain.    Singers, 

Old   Beaux   and  Abbes,  Girls,  Citizens,  Villagers,  Students, 

People,  Courtezans,  Archers,  Sailors. 


Scene  and  Period  :  Paris  and  vicinity  ;  second  half  of  the  eighteenth  century. 


THE  STORY 

This  early  Puccini  opera  was  performed  by  a  struggling  opera  company  in  1898,  but  the 
performance  was  so  wholly  bad  that  we  have  made  no  mention  of  it  in  our  chronicle  at  the 
top  of  the  page.  The  real  New  York  premiere  was  of  course  the  Metropolitan  production  in 
1907,  when  Puccini  himself  was  present.  An  English  version  of  the  opera  was  given  in  Phila- 
delphia, however,  by  Gustav  Hinrichs  during  one  of  his  summer  seasons, — August  29,  1894. 

241 


VICTOR    BOOK    OF    THE    OPERA— MANON    LESCAUT 


AS    MANON 


The  Abb6  Prevost  romance  has  been  treated  operatically 
by  several  composers,  the  first  being  Halevy,  who  wrote  a  bal- 
let on  the  subject  in  1830.  Other  settings  followed — by  Balfe, 
1836;  Auber  in  1856  and  Massenet  in  1884. 

Puccini's  version  consists  of  four  detached  scenes  selected 
from  the  novel,  and  the  hearer  should  possess  some  knowl- 
edge of  the  story  to  fully  understand  the  action  of  the  opera. 

The  first  act  shows  the  courtyard  of  an  inn  at  Amiens. 
Manon's  brother,  Lescaul,  a  dissolute  soldier,  is  escorting  his 
pretty  little  sister  to  the  convent  where  she  is  to  complete  her 
education.  While  Lescaut  is  carousing  with  some  chance 
companions,  Manon  meets  a  handsome  gallant,  des  Grieux, 
who  chances  to  be  dining  at  the  inn,  dressed  as  a  student. 
The  prospect  of  school  not  appealing  strongly  to  the  young 
girl,  she  readily  agrees  to  elope  with  des  Grieux,  thereby  spoil- 
ing the  plans  of  the  old  roue,  Geronte,  who  had  planned  to 
abduct  the  pretty  school  girl.  Manon  soon  tires  of  des  Grieux 
and  his  poverty,  and  leaves  him  for  the  wealthy  Geronte ; 
but  even  this  luxury  fails  to  bring  her  happiness,  and  when 
des  Grieux  appears  again  she  runs  away  with  him. 

Geronte  is  furious  and  denounces  Manon  to  the  police  as  an  abandoned  woman.  She  is 
condemned  to  be  deported  to  the  French  possessions  in  Louisiana.  Des  Grieux  and  Lescaut 
try  to  rescue  her,  but  the  attempt  fails,  and  in  desperation  the  former  begs  the  commandant 
to  permit  him  to  accompany  her  to  America. 

In  the  final  scene  the  lovers  are  shown  in  a  desert  near  New  Orleans.  (The  Abbe 
Prevost's  knowledge  of  American  geography  was  evidently  limited!)  Des  Grieux  leaves 
Manon  to  search  for  water,  and  returns  just  in  time  to  see  her  die  in  his  arms,  after  a  most 
affecting  scene. 

ACT  I 
SCENE — A  Street  in  front  of  an  Inn  at  Amiens 

Des  Grieux,  dressed  as  a  student,  strolling  among  the  crowd,  meets  Edmund  and  a  party 
of  students,  who  warmly  greet  him.  He  is  in  a  gay  mood  and  addresses  some  of  the  girls 
who  are  passing,  asking  them,  in  this  charming  air,  if  there  is  one  among  them  who  •will 
take  pity  on  his  lonely  condition. 

Tra  voi  belle  brune  (Now  Among  You) 

By  Franco  de  Gregorio.  Tenor  (In  Italian)     *45O15      lO-inch,  $1.OO 

This  gay  song  is  effectively  given  by  one  of  the  Victor's 
new  tenors,  of  the  La  Scala  forces,  and  the  record  is 
doubled  with  the  Madrigale  from  Act  11. 

A  diligence  now  arrives,  and  Manon  and  her  brother 
and  Geronte,  a  chance  traveling  companion,  alight.  Des 
Grieux  is  struck  with  the  beauty  of  the  young  girl,  and 
when  Lescaut  and  Geronte  have  gone  into  the  inn  to  arrange 
for  quarters,  he  questions  her  respectfully.  She  tells  him 
that  she  is  bound  for  a  convent,  but  does  not  wish  to  go. 
Lescaut  now  calls  to  his  sister,  and  she  enters  the  inn  after 
promising  to  meet  des  Grieux  later  in  the  evening. 

The  young  man  gazes  after  her,  and  says  to  himself 
that  never  has  he  seen  so  lovely  a  picture  of  youth  and 
innocence.  He  expresses  his  emotion  in  a  fine  air,  one  of 
the  loveliest  of  the  numbers  allotted  to  des  Grieux. 

Donna  non  vidi  mai  (Never  Did  I  Behold) 

By  Enrico  Caruso,  Tenor  ("With  Harp  and 

Orchestra)      (In  Italian)    87135      10-inch,  $2.OO 
By  Egidio  Cunego,  Tenor 

(In  Italian)     *45O16      lO-inch,     l.OO 

*Double.FaceJ  Record-Far  title  of  opposite  ,ide  xe  DOUBLE-FACED  MANON  LESCAUT  RECORDS,  page  244. 

242 


VICTOR    BOOK    OF    THE     OPER  A— M  ANON    LESCAUT 

The  students  now  gather  round,  bantering  des  Grieux  on  his  new  conquest,  but  he  is  in 
no  mood  for  joking  and  goes  into  the  inn.  Lescaut  now  joins  a  crowd  of  soldiers  who  are 
gambling,  and  soon  becomes  absorbed  in  the  game.  Geronte,  seeing  the  brother  thus 
engaged,  seeks  the  landlord  and  plots  to  abduct  Manon.  Edmund  overhears  the  scheme  and 
informs  des  Grieux,  who  finds  Manon  and  induces  her  to  elope  with  him.  They  take 
the  carriage  which  Geronte  had  ordered  and  make  their  escape,  leaving  him  furious.  How- 
ever, he  finds  Lescaut  and  suggests  that  they  go  to  Paris  in  search  of  the  runaways.  Lescaut, 
•who  has  been  drinking,  consents,  delicately  hinting  that  if  Geronte  will  admit  him  into  the 
family  group,  he  will  use  his  influence  to  induce  Manon  to  desert  des  Grieux  for  the  older 
but  wealthier  suitor. 

ACT  II 
SCENE — An  Apartment  in  Geronte 's  House  in  Paris 

Since  the  events  of  Act  I  Manon  is  supposed  to  have  left  des  Grieux  for  the  wealthier 
Geronte.  She  is  seen  surrounded  by  the  utmost  luxury,  attended  by  her  hairdresser,  dancing 
master,  etc.  Lescaut  enters,  evidently  much  at  home,  and  congratulates  her  on  her  change 
of  fortune,  taking  to  himself  all  the  credit  for  having  advised  her  so  cleverly.  She  says  she 
is  happy  and  contented,  but  asks  Lescaut  if  he  has  heard  any  news  of  des  Grieux — •whether 
he  is  grieving  or  whether  he  has  already  forgotten  her.  Lescaut  tells  her  that  the  young 
man  is  disconsolate,  and  is  gambling  in  order  to  get  wealth  to  win  her  back  to  him. 

Manon  gazes  pensively  at  the  rich  hangings,  and  in  a  fine  air  expresses  her  longing  for 
the  humble  cottage  she  has  left. 

In  quelle  trine  morbide  (In  Those  Silken  Curtains) 

By  Frances  Alda,  Soprano  (In  Italian)     87106     lO-inch,     $2.OO 

Madame  Alda,  •whose  Manon  is  one  of  her  most  successful  impersonations,  sings  this 
pathetic  scene  from  Puccini's  opera  in  exquisite  style. 

They  are  interrupted  by  the  entrance  of  a  company  of  Madrigal  singers  who  have  been 
sent  by  Geronte  to  amuse  Manon.  They  sing  a  beautiful  Madrigal,  given  here  by  Signora 
Lopez-Nunes  and  La  Scala  Chorus. 

Madrigale — Sulla  vetta  del  monte  (Speed  O'er  Summit) 

By  Lopez-Nunes,  Soprano,  and  Chorus        (In  Italian)     *45015      lO-inch,     $1.OO 
When  the  singers  have  departed,  the  dancing  master  appears  to  teach  Manon  the  minuet. 
She  takes  her  lesson,  •while  Geronte  and  several  friends  watch  her  admiringly.      In  a  gay  mood 
she  sings  a  little  song  to  the  air  of  the  minuet. 

Minuetto  di  Manon,  "L'ora  o  Tirsi"      (Joyful  Hours) 

By  Frances  Alda,  Soprano  (In  Italian)     87079      lO-inch,     $2.OO 

Des  Grieux  now  enters  and  reproaches  Manon  bitterly.  At  the  sight  of  him  her  love 
returns,  and  she  begs  him  to  take  her  away  from  all  this  luxury.  They  sing  a  passionate 
duet,  followed  by  a  lovely  solo  for  des  Grieux,  who  reproaches  Manon  for  her  fickleness. 

Ah  !  Manon,  mi  tradisce    (Manon,  Kind  and  Gentle) 

By  Franco  de  Gregorio,  Tenor  (In  Italian)     *45027     10-inch,     $1.OO 

By  Giorgio  Malesci,  Tenor  (In  Italian)     *63421      lO-inch.         .75 

Geronte  surprises   them,    but  controls  his  rage,  and  sarcastically  wishing  them  a  pleasant 

tete-a-lele,    goes   out.     Lescaut   shortly    afterward    rushes    in   and  announces  that  Geronte  has 

sent  for  the  police.     Des  Grieux  begs  Manon  to  escape  at  once,  but  she  insists  on  collecting 

her  jewels  first.     This  delay  is  fatal,  and  she  is  arrested  and   taken   to  prison,  charged  •with 

being  an  abandoned  woman. 

Intermezzo    (Between  Acts  II  and  III) 

By  Arthur  Pryor's  Band  *35O03      12-inch,     $1.25 

Now  comes  the  exquisite  intermezzo,  which  gives  a  musical  picture  of  the  journey  to 
Havre  of  Des  Grieux  to  secure  the  release  of  Manon,  and  of  his  resolution  to  follow  and 
protect  her  wherever  she  may  be  sent — "Even  to  the  end  of  the  world!"  cries  the 
unhappy  lover. 

This  number  exhibits  well  the  genius  of  this  composer  in  making  the  orchestra  reflect 
the  incidents  and  passions  of  the  story  instead  of  using  it  as  a  mere  accompaniment. 

'Doublc-FaceJRecorJ-For  liile  of  opposite  si Je  see  DOUBLE-FACED  MANON  LESCAUT  RECORDS,  t>age244. 

243 


VICTOR  BOOK  OF  THE  OPER  A— M  ANON  LESCAUT 


ACT  III 

SCENE—  The  Harbor  at  Havre 

Manon  has  been  banished  from  France,  and  is  now  embarking  on  the  ship  for  the 
French  colony  in  Louisiana.  Des  Grieux,  unable  to  secure  her  release,  entreats  the  officers 
to  permit  him  to  go  on  board.  The  captain,  touched  by  the  grief  of  the  unhappy  lovers, 
consents,  and  with  a  cry  of  joy  Des  Grieux  embarks  just  as  the  ship  is  sailing. 

ACT  IV 

SCENE— A  Desolate  Spot  in  Louisiana 

This  act  is  merely  a  long  duet  in  which  the  sad,  but  very  human,  tragedy  is  ended. 
The  music  portrays  the  failing  strength  of  Manon,  the  despair  of  Des  Grieux  when  he  is 
powerless  to  aid  her,  the  last  farewell  of  the  lovers,  and  the  bitter  grief  of  the  unhappy 
young  man  when  Manon  dies.  As  she  expires,  unable  to  bear  more,  he  falls  senseless  on 
her  body.  

DOUBLE-FACED  AND   MISCELLANEOUS   MANON   LESCAUT    RECORDS 


/Intermezzo  (Between  Acts  II  and  III)         By  Pryor's  Bandl 
I      Tosca  Selection  By  Arthur  Pryor's  Band] 

/Manon  Selection  By  Arthur  Pryor's  Band\ „,_,,,, 

I     El  Capitan  March     (Sousa)  By  Sousa 's  Band j^3 

fTra  voi  belle  brune  (Now  Among  You) 

By  Franco  de  Gregorio,  Tenor      (In  Italian) 
jMadrigale — Sulla  vetta  del  monte  (Speed  O'er  Summit) 

By  Lopez-Nunes,  Soprano,  and  Chorus     (In  Italian) 
[Donna  non  vidi  mai  (Never  Did  I  Behold) 

By  Egidio  Cunego,  Tenor     (In  Italian)  U5016 
[      Tosca — Gia  mi  struggea     By  Ernesto  Badini,  Baritone     (In  Italian)] 

I  Ah!  Manon,  mi  tradisce  (Manon,  Kind  and  Gentle) 
By  Franco  de  Gregorio,  Tenor     (In  Italian) 
Gioconda—Cielo  e  Mar  !     (Heaven  and  Ocean)         By  de  Gregorio 
{Ah!  Manon,  mi  tradisce        By  Giorgio  Malesci     (In  Italian) 
Ernani — Infelice  e  tu  credevi     (Unhappy  One  !)  ^63421 

By  Aristodemo  Sillich,  Bass     (In  Italian) 


12-inch, 
12-inch, 

45O15      lO-inch, 

lO-inch, 

45O27     10-inch, 
10-inch, 


.75 


DON     CAESAR 


MARITANA 


ROMANTIC    OPERA   IN    THREE   ACTS 

Libretto  by  Edward  Fitzball.  Music  by  William  Vincent  Wallace.  First  produced  at 
Drury  Lane  Theatre,  London,  November  15,  1845.  First  American  production  at  the 
Chestnut  Street  Theatre,  Philadelphia,  1846. 

Characters 

CHARLES  II,  King  of  Spain Bass 

DON  JOSE  DE  SANTAREM,  his  Minister Baritone 

DON  CAESAR  DE  BAZAN Tenor 

MARQUIS  DE  MONTEFIORI Bass 

LAZARILLO Mezzo-Soprano 

MARITANA,  a  gypsy  singer Soprano 

MARCHIONESS  DE  MONTEFIORI Soprano 

Nobles,  Soldiers,  Gypsies,   Populace,  Etc. 

Time  and  Place:      The  scene  is  laid  in  Madrid,  at  the  time  of  Charles  II. 
245 


VICTOR      BOOK      OF      THE       O P E R A— M A R I T A N A 

Wallace's  lovely  opera  of  old  Madrid  is  still  beloved  for  its  tunefulness  and  its  sen- 
timental music.  The  ideal  of  opera  fifty  years  ago  was  that  of  quiet,  unaffected  sweetness, 
and  the  composer  in  his  Maritana  achieved  that  quality  to  perfection.  The  story  of  the 
opera  is  founded  upon  that  well-known  play,  Don  Caesar  de  Bazan. 

ACT  I 

SCENE— A  Public  Place  in  Madrid 

The  opening  scene  shows  a  band  of  gypsies  singing  in  the  streets.  The  young  king, 
Charles,  listens  and  is  fascinated  by  the  beauty  of  Maritana,  one  of  the  gypsies.  The  crafty 
Don  Jose,  the  King's  Minister,  extols  her  charms  to  His  Majesty,  hoping  that  the  King  will 
compromise  himself  so  that  he  (Don  Jose)  can  inform  the  Queen  and  further  his  own  designs 
on  Her  Majesty.  Don  Caesar,  a  jovial  cavalier  and  a  former  friend  of  Don  Jose's,  appears  in 
a  slightly  exhilarated  condition,  and  in  befriending  a  forlorn  lad,  Lazarillo,  involves  himself 
in  a  duel  with  Lazarillo' 's  master.  This  leads  to  his  arrest  for  dueling  in  Holy  Week,  and  he 
is  sentenced  to  die,  to  the  grief  of  Maritana,  who  has  taken  a  fancy  to  the  gay  and  careless 
cavalier. 

ACT  II 

SCENE — Interior  of  a  Fortress 

In  the  second  act  Don  Caesar  sleeps  in  his  cell,  with  the  faithful  Lazarillo,  who  has 
accompanied  his  benefactor,  by  his  side.  The  Minister  enters,  and  when  Caesar  begs  to  be 
allowed  to  die  like  a  soldier  instead  of  being  hanged,  he  is  assured  that  it  can  be  arranged 
if,  in  the  meantime,  he  will  consent  to  be  married.  With  but  two  hours  to  live,  Don  Caesar 
decides  that  even  marriage  is  preferable,  and  consents  without  inquiring  who  the  bride  is 
to  be.  The  wedding  banquet  is  being  served  when  Lazarillo  arrives  with  a  pardon  from 
the  King,  which  Jose  secures  and  hides,  his  scheme  being  to  have  Don  Caesar  shot  and  then 
induce  Maritana  to  go  to  the  palace  by  pretending  that  her  husband  is  there,  and  then 
compromise  the  King.  Maritana,  who  has  been  promised  a  glorious  future  if  she  will  consent 
to  wed  Don  Caesar,  enters,  heavily  veiled,  and  the  marriage  takes  place,  after  which  the 
guards  enter  for  the  execution.  Lazarillo,  however,  has  drawn  the  bullets  from  the  guns, 
and  when  the  soldiers  fire,  Caesar  is  unharmed,  but  pretends  death,  and  later  escapes  to  a 
ball  at  the  Montefiori  palace.  Under  instructions  from  Don  Jose,  the  Marquis  introduces 
Maritana  as  his  niece.  When  Caesar  demands  his  bride,  Don  Jose  arranges  that  he  shall  be 
presened  to  the  Marchioness,  who  is  closely  veiled.  The  scheme  does  not  work,  however, 
as  Caesar  hears  Maritana' s  voice  and  tries  to  claim  her,  but  she  is  quickly  spirited  away. 

ACT  III 

SCENE— Apartment  in  the  "Pa/ace  of  the  King 

In  the  last  act  Maritana  is  in  the  palace,  and  the  scheming  Minister  introduces  the  King 
as  her  husband,  but  Caesar  suddenly  appears  and  demands  his  bride.  Before  explanations 
can  be  made  the  King  is  summoned  by  the  Queen,  while  Don  Caesar  and  Maritana  consult 
together,  finally  deciding  to  appeal  to  the  Queen.  While  waiting  for  her  in  the  palace  gardens, 
Caesar  overhears  Jose  telling  Her  Majesty  that  the  King  has  a  rendezvous  with  Maritana  that 
evening.  Caesar  appears,  denounces  him  as  a  traitor,  and  slays  him.  When  the  King 
hears  of  Caesar's  loyalty,  he  repents  of  his  designs  on  Maritana  and  gives  her  to  Caesar,  be- 
sides making  him  Governor  of  Valencia. 

The  Victor  offers  four  splendid  records  from  this  melodious  opera,  including  six 
numbers  blended  into  a  most  appropriate  medley  by  the  Victor  Opera  Company  ;  a  Victor 
Band  record  of  the  tuneful  Overture;  the  song  of  Don  Caesar  in  Act  II,  There  is  a  Flower, 
given  by  Mr.  McCormack ;  and  a  violin  record  of  the  favorite  Scenes  That  Are  Brightest, 
from  Act  III. 

Gems  from  Maritana 

Chorus,  "Angelus  " — Solo,  "  Scenes  That  Are  Brightest " — Solo,  "  Let  Me 
Like  a  Soldier  Fall  "—Trio,  "What  Mystery  "—Chorus,  "Oh,  What  Pleasure  "- 
Finale,  "Viva  Maritana" 

By  Victor  Light  Opera  Company     318O4     12-inch,  $1.OO 

/Overture  to  Maritana  By  the  Victor  Bandl,,  __..      .  ~   .     <        ,  »- 

•;       .,     .,    ,.,•  ,  D     ,     r  r       j  f,          ,. .    .      m     jJ-35071      12-inch,     1.25 

\      Manila  Waltz  By  the  United  States  Marine  Sand) 

There  is  a  Flower  By  John  McCormack,  Tenor  643O7     10-inch,     1.00 

/Scenes  That  Are  Brightest     By  Charles  D'Almaine,  Violinist).  ,»Q,,      i  r>  •     t,          -rn 
\     Waltz  from  Faust  £y  Charles  D'Almaine,   Violinist}^ 

246 


MARRIAGE    OF    FIGARO    AND    SUSAN 


NOZZE  raThoARO          MARIAGE'DE  FIGARO 

(Nof-zeh  dee  Fee'-gar-oh)  (Mah-ree-ahzh'  deh  Fee' -gah-row) 

(English) 

THE  MARRIAGE  OF  FIGARO 

OPERA  IN  FOUR  ACTS 

Text  by  Lorenza  da  Ponte,  founded  on  a  comedy  by  Beaumarchais  of  the  same  name. 
Music  by  Mozart.  First  production  at  the  National  Theatre,  Vienna,  May  1,  1786,  with 
Mozart  conducting.  In  Paris  as  Le  Manage  de  Figaro,  in  five  acts,  with  Beaumarchais' 
spoken  dialogue,  at  the  Academic,  March  20,  1793;  at  the  Theatre  Lyrique,  as  Les  Noces 
de  Figaro,  by  Barbier  and  Carre,  in  four  acts,  May  8,  1858.  In  London,  in  Italian,  at  the 
King's  Theatre,  June  18,  1812.  First  American  production  April  8,  1835,  in  English.  Some 
notable  revivals  were — in  the  70' s,  with  Hersee,  Sequin  and  Parepa-Rosa;  in  1889,  •with 
Nordica,  Eames,  de  Reszke,  Ancona  and  Arnoldson ;  in  1902,  with  Sembrich,  Eames,  Fritzi 
Scheff,  de  Reszke  and  Campanari ;  and  in  1909,  with  Sembiich,  Eames,  Farrar  and  Scotti. 


Cast 

FIGARO,  (Fee -gah-roh}   the  Barber,  valet  to  the  Count 

COUNT  ALMAVIVA,    (Al-mah-oee -oah)  &  Spanish  noble 

COUNTESS  ALMAVIVA,  his  wife  

SUSANNA,  maid  of  the  Countess,  betrothed  to  Figaro.  .  . 

CHERUBINO,   (Chay-rue-bee'-noh)   page  to  the  Countess 

MARCELLINA,  (Mar-chel-lee -nah)  servant  to  Bartolo 

BARTOLO,  a  rejected  lover  of  Susanna 

BASILIO,  (Bah-zee ' -lee-oh)  a  busybody 

DON  CURZIO 

ANTONIO,  gardener  to  the  Count 

Servants,  Country  People,  Guards. 


Bass 

Baritone 

Soprano 

Soprano 

Soprano 

Contralto 

Bass 

Tenor 

Tenor 

...Bass 


Scene  and  Period :     Seville;    the  seventeenth  century.      The  action  is  a  direct 
continuation  of  the  Barber  of  Seville. 

247 


VICTOR   BOOK  OF  THE  OPERA— THE  MARRIAGE  OF    FIGARO 


SETTING   OF   ACT    I    AT    LA   SCALA 

Mozart's  Marriage  of  Figaro,  with  its  merry  plot  and  music,  is  one  of  the  most  delight- 
ful of  musical  comedies,  and  regret  must  be  expressed  for  the  all  too  infrequent  perform- 
ance of  this  ever-young  and  lovely  opera,  in  which  the  complications  of  the  story,  the  quick 
changes  of  mood,  and  the  sparkling  humor  are  all  so  well  reflected  in  the  music.  In  no 
single  opera,  perhaps,  is  there  such  a  succession  of  musical  gems  as  in  Figaro.  Each  is  per- 
fect in  its  way  and  each  seems  to  enhance  the  beauty  of  the  others. 

This  comedy  by  Beaumarchais,  on  which  the  plot  is  founded,  has  been  utilized  by 
many  composers,  Mozart's  version  being  written  in  1 785. 

Those  who  have  read  the  story  of  Barber  of  Seville  will  find  themselves  again  making 
the  acquaintance  of  Bartolo,  Almaviva  and  Figaro,  some  time  after  the  marriage  of  the  dash- 
ing Count  to  Bartolo's  ward.  The  Count  has  settled  down  quietly  on  his  estates,  while 
Figaro,  as  a  reward  for  his  services  as  a  match-maker,  has  been  appointed  major-domo  of 
the  castle.  Figaro  is  in  love  with  the  Countess'  maid  Susanna,  and  expects  to  marry  her 
soon,  but  unfortunately  for  his  plans,  had  also  promised  to  wed  Marcellina,  the  ex-house- 
keeper of  Bartolo,  on  the  very 
same  day.  Further  complica- 
tions are  promised  by  the  fact 
that  the  Count,  already  -weary- 
ing of  his  wife,  is  making  love 
to  Susanna  himself. 

ACT  I 

SCENE  I— ^  Room  in  the 
Count 's  Chateau 

Overture 

By  Arthur  Pryor's  Band 
*35109     12-inch,  $1.25 
The    overture    is    a    most 
delightful    one,    written    in 
true  Mozartian  style,  and   Mr. 
Pryor    has    given    a     brilliant 
reading  of  it,  bringing  out  all 
its  beauties. 


Double-Face d  Record— For  title  of  opposite  side  see  double-faced  list  on  page  252. 

248 


VICTOR  BOOK  OF  THE  OPERA— THE  MARRIAGE  OF  FIGARO 


At  the  opening  of  the  opera  Susanna  tells  Figaro  that  the  Count  is  trying  to  flirt  with  her, 
and  Figaro  plans  revenge.  Marcellina  has  confided  in  Dr.  Bartolo,  and  as  the  portly  doctor 
still  harbors  a  grudge  against  Figaro  for  robbing  him  of  his  ward,  he  consents  to  help  her. 
The  Countess,  who  seems  to  be  the  only  one  in  the  castle  not  engaged  in  intrigue  of  some 
kind,  thinks  only  of  her  husband,  and  how  to  bring  him  back  to  her  side. 

ACT   II 

SCENE  I— Apartment  oj  the  Countess 
At  the  beginning  of  Scene  11,  the  Countess  sings  her  lovely  appeal  to  Cupid. 

Porgi  amor  (Love,  Thou  Holy  Impulse) 

By  Johanna  Gadski,  Soprano  (In  Italian)     88275      12-inch.  $3.0O 

By  Teresa  Arkel,  Soprano  (Double-faced,  see  page 252)  (Italian)     634 1 9     1 0-inch,       .75 

The  Countess  is  one  of  Mme.  Gadski's  most  effective  impersonations,  and  she  makes  an 
imposing  figure  in  her  royal  garb,  singing  the  Mozart  music  with  a  richness  of  voice  which 
is  always  a  delight  to  the  ear.  The  Porgi  amor,  with  its  melancholy  undertone,  never  seems 
to  be  heard  at  its  best  at  the  opera,  as  it  is  introduced  under  rather  trying  conditions — at  the 
very  beginning  of  a  scene  and  without  preparatory  recitative.  Certainly  Mme.  Gadski  has 
never  sung  this  lovely  air  better  than  at  this  time,  it  being  delivered  with  much  purity  of 
tone,  and  genuine  sentiment.  The  record  will  be  pronounced  one  of  the  most  satisfactory 
and  appealing  interpretations  in  the  artist's  entire  list. 

Susanna  tells  the  Countess  of  her  husband's  fickleness  and  they  consult  Figaro,  -who  plans 
to  make  the  Count  jealous  by  telling  him  that  the  Countess  is  to  meet  a  lover  that  evening  in 
the  garden.  It  is  planned  to  send  Marcellina  in  the  Countess'  place,  and  Cherubino,  dressed 
as  a  young  girl,  to  meet  the  Count  in  Susanna's  place. 

Figaro  departs,  and  Cherubino  enters.  Seeing  his  mistress,  he  begins  to  heave  deep  sighs, 
but  Susanna  mocks  him  and  tells  the 
Coun/ess  he  has  written  a  song  about 
his  lady  love.  The  Coun/ess  bids  him 
sing  it,  and  he  takes  his  guitar  and 
describes  the  delights  and  torments 
caused  by  Cupid's  arrow. 


Voi  che  sapete  (What  is 
This  Feeling?) 

By  Nellie  Melba, 
Soprano     (In  Italian) 

88O67      12-inch,  $3.OO 

By  Luisa  Tetrazzini, 
Soprano     (In  Italian) 

88300     12-inch,     3.00 

The  song  is  in  ballad  form,  to 
suit  the  situation,  the  voice  giving 
out  the  clear,  lovely  melody,  while 
the  stringed  instruments  carry  on  a 
simple  accompaniment  pizzicato,  to 
imitate  the  guitar;  and  this  delicate 
outline  is  shaded  and  animated  by 
solo  wind  instruments. 

It  is  difficult  to  say  -which  to 
admire  most — the  gracefulness  of  the 
melodies,  the  delicacy  of  disposition 
of  the  parts,  the  charm  of  the  tone- 
coloring,  or  the  tenderness  of  expres- 
sion— the  whole  is  of  entrancing 
beauty. 


GADSKI   AND   REIGELMAN   AS   COUNTESS  AND   CHERUBINO 

249 


VICTOR  BOOK  OF   THE  OPERA— THE  MARRIAGE  OF    FIGARO 


CHERUBINO: 

What  is  this  feeling  makes  me  so  sad? 
What  is  this  feeling  makes  me  so  glad? 
Pain  that  delights  me, — How  can  it  be? 
Pleasure  that  pains  me; — 
Fetter'd  though  free! 
Whence,   too,   these   yearnings, 
Strange   to  myself? 
Tell  me  their  meaning,   spirit  or  elf! 


Why  am  I  burning?     Why  do  I  freeze? 
Restless  forever,   never  at  ease. 
All  is  so  altered,  nothing's  at  rest, 
Or  are  these  changes  but  in  my  breast? 
Gentler  the  breezes,  day  is  more  bright; 
Fairer   the   moonbeams   shine   on    the   night: 
Greener  the  forest,  greener  the  hill, 
Soft,  too,  the  music  flows  from  each   rill. 

The  women  now  dress 
up  the  page  to  represent  Su- 
sanna, and  have  no  sooner  fin- 
ished when  the  Count  knocks, 
and  Cherubino  hides  in  the 
closet.  The  Count  observes 
his  wife's  confusion,  and  hear- 
ing noises  in  the  closet,  be- 
comes jealous.  He  demands 
that  she  open  the  closet  door, 
and  when  she  refuses  he  goes 
for  a  crowbar.  The  moment 
he  is  out  Cherubino,  aided  by 
Susanna,  slips  out  and  escapes 
through  the  window,  and  Su- 
sanna enters  the  closet  in  his 
place.  When  the  Count  returns 


SCENE-ACT     III 

comes  out  and  the  husband  is  forced  to  apologize  for  his  suspicions. 

Marcellina  now  enters  with  her  lawyer  and  demands  that  Figaro  shall  keep  his  promise 
to  marry  her.  The  Count  promises  to  look  into  the  matter. 

ACT   III 

SCENE  \—Jl  Cabinet  in  the  Count's  Residence 

The  third  act  opens  with  a  scene  between  Susanna  and  the  Count.  He  plans  to  force 
her  to  accept  his  attentions  by  threatening  to  make  Figaro  wed  the  ancient  Marcellina,  while 
Susanna  endeavors  to  gain  time.  This  scene  is  continued  in  a  charming  and  graceful  duet. 


THE    COUNT    IS   JEALOUS — ACT    II 

250 


VICTOR  BOOK  OF   THE  OPERA— THE  MARRIAGE  OF  FIGARO 


Crudel  perche  finora  (Too  Long  You  Have  Deceived  Me) 

By  Geraldine  Farrar,  Soprano,  and  Antonio  Scotti,  Baritone 

(In  Italian)     89O27     12-inch,  $4.OO 

Susanna  pretends  to  encourage  the  attentions  of  the  Count,  in  furtherance  of  the  plot 
conceived  by  the  Countess;  while  at  the  same  time  she  deftly  repels  his  advances.  Finally 
she  promises  to  meet  him  in  the  arbor  and  the  Count  is  in  ecstasies. 


COUNT. 

Too  long  you  have  deceived  me; 

Hope,    weary,    bids   farewell. 
SUSANNA: 

What  passes  in  her  bosom 

A  maiden   dreads  to  tell. 

COUNT:     You'll  meet  me  in  the  grove,  then? 
SUSANNA:     When  sunset's  on  the  lea. 
COUNT:     And  do  not  mean  it  falsely? 
SUSANNA:     Oh,   no;   rely   on   me! 
COUNT   (aside): 

What  transport  now  is  flying 

Thro'    this   enraptured   breast! 


SUSANNA   (aside)  : 

Oh,  may  the  scheme  I'm  trying, 
Bring  all  to  peace  and  rest! 

COUNT:     Then,  by  the  garden  bower; 

SUSANNA:     At  twilight  I  will  be. 


COUNT:     You'll   not  forget  the  hour? 
SUSANNA:     Oh,   no,  depend  on  me. 
COUNT:     In  the  garden? 
SUSANNA:     Yes! 
COUNT:     You'll  not  forget? 

SUSANNA:     No!  No!  No!    Oh,  no,  depend  on  me! 
COUNT  (retiring) :     I  have  won  her ! 
SUSANNA  (aside):     Well,  cunning  as  you  are,  sir. 
This  time  you've  met  your   match! 

Of  the  seven  ouets  in  which  Susanna  takes  part  in  the  opera,  the 
Crudel  perche  is  the  most  effective,  and  Miss  Farrar  and  Mr.  Scotti,  both 
accomplished  Mozart  singers,  deliver  it  delightfully. 

The  two  now  separate,  each  satisfied  with  the  interview, — the  Count 
believing  she  has  yielded,  and  Susanna  convinced  that  she  has  him  in  a  trap. 

Marcellina,  with  her  lawyer,  Bartolo  and  Figaro  now  enter,  and  Figaro 
is  informed  that  he  must  wed  Marcellina  or  pay  damages ;  but  the  dis- 
covery of  a  birthmark  proves  him  to  be  the  long  lost  son  of  Marcellina. 
He  embraces  his  mother  just  as  Susanna  comes  in,  and  she,  seeing  Figaro 
with  his  arms  around  the  woman  he  was  lately  trying  to  avoid,  decides 
that  he  has  changed  his  mind.  Matters  are  explained,  however,  and 
preparations  for  the  wedding  are  begun. 

Susanna  now  seeks  the  Countess  and  tells  her  mistress  that  the  Count 
wishes  to  meet  her  (Susanna)  in  the  garden.  The  Countess  then  dictates 
a  letter  in  which  Susanna  is  to  appoint  a  time  and  place  for  the  meeting. 
The  writing  of  this  letter  is  portrayed  in  a  delicate  duet. 

Che  soave  zeffiretto  (Letter  Duet — Song  to  the 
Zephyr) 

By  Marcella  Sembrich,  Soprano,  and  Emma  Eames, 

Contralto  (In  Italian)     95202     12-inch,  $5.00 

This  number    is    always  greatly  enjoyed   in   representations  of  the 
opera,  being  a  fine  example  of  the  Mozartian  style  and  full  of  beauties, 
NA  not  only  in  the  vocal  parts,  but  in  the  masterly  orchestration. 

SCENE  II— Hall  in  the  Chateau 

In  this  scene  Figaro  and  Susanna  are  married,  and  in  the  course  of  the  festivities  Susanna 
contrives  to  slip  the  note  to  the  Count,  who  is  overjoyed. 

ACT  IV 

SCENE — The  Garden  of  the  Chateau 

The  last  setting  shows  the  garden  where  the  most  delightful  of  the  comedy  scenes  takes 
place.  Figaro  enters  and  soliloquizes  on  the  fickleness  of  woman. 

Ach  !  offnet  cure  Augen  (Of  \^omen  Beware  !) 

By  Otto  Goritz,  Baritone  (In  German)      74289     12  I1.5O 

After  his  air  he  hides,  just  as  Susanna,  disguised  as  the  Countess,  and  the  Countess  dis- 
guised as  Susanna,  enter.  The  mistress  conceals  herself,  while  Susanna,  awaiting  the  Count, 
and  knowing  that  Figaro  is  listening,  sings  her  famous  soliloquy. 

Deh  vieni  non  tardar   (Oh,  Come,  My  Heart's  Delight) 

By  Marcella  Sembrich,  Soprano  (In  Italian)     88020     12-inch,  $3.OO 

She  pours  out  her  whole  soul  in  this  address  to  the  imaginary  lover,  in  order  to 
increase  the  jealousy  of  Figaro,  who  is  hidden  near  by.  This  is  one  of  the  most  exquisite 
numbers  in  the  opera,  and  Mme.  Sembrich's  singing  of  it  always  remains  long  in  the  mem- 


ory of  those  who  hear  her  in  Nozze. 


251 


VICTOR  BOOK  OF  THE  OPERA— THE  MARRIAGE  OF    FIGARO 


THE    GARDEN ACT 

SUSANNA: 

Ah,     why    so    long    delay?     speed,     speed    thee 

hither! 
While     thou'rt     away,     all     nature     seems     to 

wither. 
Tho'  bright  the  moon,  and  bright  the  stars  are 

glowing, 

Deeper  around  the  wood  its  shade  is  throwing. 
In  ev'ry  gentle  murmur  of  the  river, 
In  the  rustling  reeds  that  near  it  quiver, 
A  voice  to  love  invites,   the  bosom  filling 
With   love   alone,    all    other   passions   stilling; — 
Come  then,  my  dearest, — the  hours  are  Quickly 

flying! 

Let  me  with  roses  bind  now  thy  head! 

Cherubino,  having  an  appointment  with  the  maid  Barbarina, 
now  enters,  and  seeing  the  Countess,   thinks  it  is  Susanna  and 
kisses  her.     The  Countess  struggles,  and  the  little  rascal  says : 
CHERUBINO: 

Why  to  me  a  kiss  deny? 
With   the   Count   you   are   not   shy! 
Come,   come,   give  o'er,   then, 
And  strive   no  more,   then; 
One  kiss  to  your  little  friend! 

The  Count  arrives  just  in  time  to  see  this,  and  giving 
Cherubino  a  box  on  the  ear,  sends  him  flying.  He  then  makes 
love  to  the  supposed  Susanna,  the  Countess  disguising  her  voice 
and  encouraging  him.  Figaro  now  sees  Susanna,  whom  he 
of  course  takes  to  be  the  Countess,  and  tells  her  that  her  husband  and  Susanna  are  together. 
Susanna  reveals  herself  and  Figaro  embraces  her.  The  Count  sees  this  embrace  and  his 
jealousy  making  him  forget  his  new  conquest,  he  seizes  Figaro  and  calls  for  help.  The 
plot  is  now  revealed,  and  the  Count,  confessing  he  is  conquered,  begs  the  Countess'  forgiveness 
and  promises  to  be  a  model  husband.  As  the  curtain  falls  the  three  happy  couples  are 
entering  the  house  to  continue  the  marriage  festivities. 


LUSSAN    AS    CHERUBINO 


DOUBLE-FACED    MARRIAGE    OF   FIGARO    RECORDS 


By  Arthur  Pry or's  BandU,ft        .  7    .      ,      «i 
By  Arthur  Pryor's  Band(35l°9      12-'nch'  $1' 


/Overture 

\     Fra  Diavolo  Overture  By  Arthur  Pryor's  BanJ( 

{Porgi  amor  By  Teresa  Arkel,  Soprano     (In  Italian)} 

Toglietemi  la  vita  ancor—Romanza      Bit  Teresa  Arkel     (In  Italian)) 


63419      10-inch,        .75 


252 


(Italian) 


MARTA 

(Mah/-tah) 


(English) 

MARTHA 

(Mah/-thah) 


OPERA  IN  FOUR  ACTS 

Libretto  by  St.  George  and  Friedrich.  Music  by  Friedrich  von  Flotow.  The  opera  is 
an  elaboration  of  "  Lady  Henrietta,  or  the  Servant  of  Greenwich,"  a  ballet-pantomime,  with 
text  by  St.  George  and  music  by  Flotow,  Burgmuller  and  Deldevez,  which  was  suggested  by 
an  actual  incident  and  presented  in  Paris  in  1844.  Martha  was  first  produced  at  the  Couit 
Opera,  Vienna,  November  25,  1847.  First  London  production  July  1,  1858,  at  Covent 
Garden,  in  Italian.  First  American  production  1852,  in  German. 


Characters  of  the  Drama 

LADY  HARRIET  DURHAM,  Maid-of-honor  to  Queen  Anne 
NANCY,  her  friend  ................................. 

SIR  TRISTAN  MICKLEFORD,  Lady  Harriet's  cousin  ....... 

PLUNKETT,  a  wealthy  farmer  ........................ 

LIONEL,  his  foster-brother,  afterwards  Earl  of  Derby  ..... 

THE  SHERIFF  OF  RICHMOND 


Soprano 

.  Mezzo-Soprano 

Bass 

Bass 

Tenor 

..Bass 


THREE  SERVANTS  OF  LADY  HARRIET  ..............  Tenor  and  Two  Basses 

THREE  MAIDSERVANTS  ......................  Soprano  and  Mezzo-Soprano 

Chorus  of  Ladies,  Servants,  Farmers,  Hunters  and  Huntresses,  Pages,  etc. 


The  scene  is  laid,   at  first,  in  the  Castle  of  Lady  Harriet,  then  in  Richmond 
and  environs,  during  the  reign  of  Queen  Anne. 


r'th,  its  spirited  Fair  Scene, 


Flotow's  melodious  opera  has  always  been  a  most  popular  one, 
its  beautiful  duets  and  quartet,  the  famous  third  act 
finale  and  the  beloved  "Last  Rose  of  Summer." 

The  composer  was  of  noble  birth,  a  son  of 
Baron  von  Flotow  of  Mecklenburg,  and  was  born 
in  1812.  His  father  destined  him  for  a  diplomat, 
but  the  boy  loved  music,  and  went  to  Paris  to 
study.  His  first  attempt  at  opera  was  Pierre  et 
Catharine,  followed  by  Stradella  and  others. 

Many  great  prima  donne  have  sung  the  role  of 
Martha — Patti,  Nilsson,  Kellogg,  Gerster,  Richings, 
Parepa  Rosa ;  and  in  the  present  day  Sembrich, 
have  charmed  their  audiences  with  Flotow's  beau- 
tiful strains. 

The  fine  overture,  which  contains  many  of 
the  best  known  melodies,  is  splendidly  played 
here  by  the  band.  On  the  reverse  side  of  the 
double-faced  (35133)  is  a  'cello  solo  by  Sorlin. 

Overture 

By  Pryor's  Band    *35133     12-inch,  $1.25 
By  Pryor's  Band      31478     12-inch,     l.OO 

ACT  I 

SCENE  I— Boudoir  of  Lady  Harriet 

Lady  Harriet,  maid-of-honor  to  Queen  Anne,  is  weary  of  the  monotony  of  court  life. 
She  is  bored  by  her  admirers,  and  jewels  and  flowers  pall  upon  her.  "  Why  do  you  weep  ?" 
says  her  faithful  maid,  Nancy.  "  I  do  not  know,"  exclaims  Harriet.  Nancy,  beginning  the 
Huet,  ventures  to  guess. 

*  Double-Face  J  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  MARTHA  RECORDS,  page  260. 

253 


VICTOR     BOOK     OF     THE     OPERA  — FLOTOW'S     MARTHA 
Mesta  ognor  (Ah,  These  Tears) 

By  Louise  Homer,  Contralto,  and  Bessie  Abott,  Soprano 

(In  Italian)     89009     12-inch,  $4.OO 


NANCY: 

Of  the  knights  so  brave  and  charming 

Who  surround  our  gracious  queen, 

And  themselves  with  wit  are  arming, 

Some  one   has  so   lucky  been 

Your  cold  and  haughty  heart  to  win! 

Is   there  aught  in  this  alarming? 
LADY  HARRIET: 

Vain  belief!      How  can  rejoice  me 

Such  insipid,  idle  love? 

For  to  please  and  interest  me 

Flattery  is  not  enough! 
NANCY: 

Riches  heap  on  you  their  treasures, 

Honor  high   is  offered  you. 
LADY  HARRIET: 

In   the  midst   of  gold  and  pleasures 

Weariness  alone  I  see. 
NANCY: 

This  is   really  too   distressing; 

Her's  is  called  a  brilliant  lot! 

If  love  does  not  work  a  wonder, 


This  flower  fades  and  blossoms  not! 
Balls  and  tournaments  are  giving, 
And  your  colors  win  the  prize, 
Proudly  from  the  banners  waving, 
While  the  victor  vainly  sighs 
For  a  smile  from  your  fair  eyes, 
Which   his    armor    penetrated! 

LADY  HARRIET: 

All  my  glowing  ardent  wishes 
Please  me  not  when  they're  fulfill'd! 
What  of  happiness  I  dreamed 
Always  has  disgust  instill'd. 
The  homages  they  offer, 
Praise  and  honor  they  bestow, 
Leave  me  joyless,   once  obtained 
Make  me  not  with  pride  to  glow. 

NANCY: 

Then,   from   ennui   to   save  you, 
Nothing  is  for  you  remaining 
But  to  let  your  heart  be  conquer'd, 
Not  a  particle   retaining! 


Tristan,  Harriet's  cousin,  a  gay  but  rather  ancient  beau,  is  now  announced  and  proposes 
a  long  list  of  diversions  for  Harriet's  amusement.  She  declines  them  all  and  teases  him  un- 
mercifully. The  song  of  the  servant  maids,  on  their  way  to  the  Richmond  Fair,  now  floats 
in  through  the  window;  and  hearing  these  strains  of  the  happy  peasants,  Harriet  conceives 
a  madcap  desire  to  accompany  them.  Nancy  and  Tristan  protest,  but  she  orders  them  to  go 
with  her.  Dresses  are  procured  and  they  start  for  the  fair,  the  ladies  in  the  disguise  of 
servant  girls,  and  Tristan  garbed  as  a  farmer. 

SCENE  II—  The  Fair  at  Richmond 

The  scene  changes  to  the  Richmond  Fair,  where  a  motley  crowd  of  men  and  maidens 
are  looking  for  positions.  Two  young  farmers,  Plunkett  and  Lionel,  now  enter,  the  latter 


being  an  orphan  and  adopted  brother  of  Plunkett.  Lionel's  father,  on  his  deathbed,  had 
given  Plunkett  a  ring,  which  was  to  be  presented  to  the  Queen  should  the  son  ever  be 
involved  in  difficulties. 

In  this  fine  duet,  one  of  the  gems  of  Flotow's  popular  romantic  opera,  the  friends  speak 
of  Lionel's  father  and  the  incident  of  the  ring. 


VICTOR     BOOK     OF     THE     O  PE  R  A— F  LOTO  W'S       MARTHA 
Solo,  profugo  (Lost,  Proscrib'd) 

By  Enrico  Caruso  and  Marcel  Journet  (In  Italian)     89O36     12-inch,  $4.OO 

By  Van  Hoose  and  de  Gogorza  (In  Italian)      74OO5      12-inch,     1.5O 

Lionel  tells  the  story  of  his  adoption  by  Plunkett's  family  in  the  fine  aria  beginning — 


This  air  is  universally  popular  and  has  been  used  for  many  poems,  including  several 
hymns.     Plunkett  then  sings — 


and  tells  of  the  great  love  he  has  for  his  adopted  brother. 
The  duet,  which  is  a  very  beautiful  one,  then  follows : 

LIONEL: 

Here  in   peace  and  sweet  contentment 

Have  I  passed  my  life  with  you; 
Stronger,  daily,  grew  a  friendship 
That   forever   lasts,    when    true. 
BOTH:    Brother,  think  not  wealth  and  splendor, 

If  perchance  they  e'er  be  mine, 
Can  as  happy  this  heart  render 
As  the  friendship  fix'd  in  thine. 


PLUNKETT: 

We  have  never  learnt  his  station, 

Never  knew  your  father's  rank; 
All  he  left  to  tell  the  secret 

Was  the  jewel  on  your  hand. 
"If  your  fate  should  ever  darken," 

Quoth  he,  "Show  it  to  the  Queen; 
She  will  save  you,  she  will  guard  you 

When  no  other  help  is  seen." 


The  disguised  ladies  now  appear,  accompanied  by  the  unwilling  and  disgusted  Tristan, 
who  considers  the  whole  affair  a  joke  in  very  bad  taste.     The  two  young  farmers  spy  the 

girls,  and  being  much  taken 
with  their  looks,  offer  to  hire 
them.  The  ladies,  carrying 
further  their  mad  prank,  ac- 
cept the  money  which  is 
offered  them,  not  knowing 
that  they  are  legally  bound 
thereby  to  serve  their  new 
masters  for  a  year.  Tristan 
loudly  protests,  but  is  hooted 
off  the  grounds,  and  the 
frightened  girls  are  taken 
away  by  the  farmers. 

ACT  II 

SCENE— A  Farmhouse 
As   the  curtain   rises   the 
farmers   enter,  dragging  with 
them    the   unwilling  and    ter- 
rified maidens. 

Siam  giunti,  o  giovinette     (This  is  Your  Future  Dwelling) 

By  Frances  Alda,  Soprano ;  Josephine  Jacoby,  Contralto ;  Enrico  Caruso, 

Tenor ;  Marcel  Journet,  Bass  (In  Italian)     95207      12-inch,  $5.OO 

The  farmers  address  the  maidens  as  follows : 

LIONEL  AND  PLUNKETT: 
-Hing;  At  dawn  of  day  and  morn's  first  glimpse 


LIONEL  AND  PLUNKETT: 

This  is  your  future  d 

And  traveling  has  an  end. 
HARRIET  AND  NANCY: 

We're  reaping  for  our  folly, 

Full  measur'd  punishment! 
LIONEL  AND  PI.UNKETT  (cordially): 

Our  house  and  home  are  yours  now, 

Their  comfort  you  will  share. 
HARRIET  AND   NANCY    (ironically): 

Their  house  and  home  are  ours  now, 

O  we  unhappy  pair! 


Be  up  and  stir  about! 
HARRIET  AND  NANCY: 

What  vulgar  ways  they  make  us  take! 

Before  the  sun  is  out! 

More  monstrous  things  they'll  next  command 

That  we  never  heard  about! 
LIONEL: 


VICTOR     BOOK     OF     THE     O  PE  R  A  — FLOTO  W'S      MARTHA 

The  quartet  passage  with  which  this  record  ends  is  one  of  the  most  beautiful  in 
Flotow's  opera. 

Che  vuol  dir  cio  (Surprised  and  Astounded  !) 

By  Frances  Alda,  Soprano  ;  Josephine  Jacoby,  Contralto  ;  Enrico  Caruso, 

Tenor  ;  Marcel  Journet,  Bass  (In  Italian)     952O8     12-inch,  $5.OO 

When  the  ladies  have  recovered  their  breath   and  begin    to   realize    that   they   are    in 
no   immediate    danger,  the   temptation  to   plague   their  employers  is  irresistible,  and  when 
the  young  men  endeavor  to  instruct  the  new  servants  in  their 
duties  the  fun  commences. 

At  the  close  of  the  first  quartet  passage,  Plun^ett  shows 
the  girls  the  door  of  their  room.  Anxious  to  escape  from  the 
scene  and  have  an  opportunity  to  discuss  their  predicament, 
they  start  toward  their  room,  but  Plunl^ell,  thinking  of  his 
appetite,  stops  them. 

PLUNKETT  (interposing) : 

Not  quite  so  fast — 

First  prepare  a  light  repast! 
HARRIET  AND  NANCY: 

Kitchen  work!   O   these  barbarians! 
LIONEL: 

Why  not  excuse  them?     They  are  tired! 
PLUNKETT   (firmly): 

Too  much  kindness  will  not  do.  . 

However,  even  the  gruff  farmer  has  realized  by  this  time 
that  these  are  servant  girls  of  a  most  unusual  kind,  and  hesi- 
tates to  scold  them. 

PLUNKETT: 

What  names  bear  you?         HARRIET: 
HARRIET  AND  NANCY:  Yes! 

We?  PLUNKETT  (to  Nancy):     . 
LIONEL:  Well,   and  yours? 

Yes,  you!  NANCY  (aside  to  Harriet): 
PLUNKETT:  (What  shall  I  tell  him?) 

Yes,  of  course!  PLUNKETT: 
HARRIET:  Well,  don't  you  know  it? 

Martha  is  mine.  NANCY  (hesitatingly):  SEMBRICH   AS   MARTHA— ACT   I 

LIONEL:    ^  Ju-ju-juha! 

PLUNKETT  (mimicking  her):  PLUNKETT  (taken  aback): 

Ju-oo-olia!     You're  proudly   nam'd  girl!  Bold!  by  the  prophets! 

(With  exaggerated  courtesy.)  LIONEL  (to  Plunkett): 

Julia!  Be  kind  enough —  Not  so  bluntly  give  your  orders, 

If  your  ladyship  so  please  it —  Rather  wishes  breathe,  like  me: 

(Gruffly)  (Very  politely) 

To  hang  my  hat  and  mantle  up!  Martha,  take  these  things,  prithee! 

NANCY   (indignantly)  :  (Harriet  takes  them,  but  promptly  throws  them 

Do  it  yourself!  on  the  floor.) 

Astonished  at  such  revolutionary  conduct  from  servants,  the  young  men  exclaim : 

LIONEL  AND  PLUNKETT:  HARRIET  AND  NANCY: 

Surpris'd  I  am  and  astounded,  Surpris'd  they  are  and  confounded, 

And  I  can  say  no  more;  And  sorely  puzzled  is  their  brain; 

Such  impudence  unbounded,  This  blow"  has  smartly  sounded, 

Was  never  seen  before!  May  be  they'll  never  try  again! 

The  maidens  determine  to  lead  their  captors  a  strenuous  life,  and  when  they  are 
ordered  to  get  supper  they  promptly  refuse. 

Presto,  presto   (Spinning  W^heel  Quartet) 

By  Frances  Alda,  Soprano;  Josephine  Jacoby,  Contralto;  Enrico  Caruso, 

Tenor;  Marcel  Journet,  Bass  (In  Italian)     952O9      12-inch,  $5.OO 

By  Victor  Opera  Quartet  (In  English)      7O052      12-inch,     1.25 

Lionel  and  Plunkett,  astonished  at  such  signs  of  insubordination,  unheard  of  in  servants 
of  the  seventeenth  century,  decide  to  learn  what  accomplishments  these  strange  domestics 
do  possess,  and  request  them  to  show  their  skill  at  spinning. 


VICTOR     BOOK     OF     THE    Q  PE  R  A-FLOTO  W'S    MARTHA 


METROPOLITAN    SETTING  OF   ACT 


PLUNKETT: 

Quick  now,   fetch  the  spinning-wheels 

From  out  the  corner! 
HARRIET  AND  NANCY: 

Do  you  want  us  then  to  spin? 
LIONEL: 

Yes,  most  surely. 
PLUNKETT: 

Do  you  think 

That  for  talking  we  engag'd  you? 
HARRIET  AND  NANCY: 

Ha,  ha,  ha!     To  see  us  spinning! 
PLUNKETT  (angrily)  : 

"Ha.  ha,   ha!     To  see  us  spinning!" 

If  you  want  your  wages  paid 

You  must  earn  them  first,  my  maid. 

Come  and  make  then  a  beginning. 


Fetch  the  wheels  now! 
HARRIET  AND  NANCY    (with  mock  humility): 

We  obey,  sir! 
LIONEL   (to  Phinkctt): 

Xot  so  harsh,  you  frighten  them. 
When  it  is  plainly  seen  that  they  are  ignorant  of  the  art  the  young  men  offer  to  teach 
them. 


(The  ladies  bring  the  wheels  and  place  them  in 

the  foreground.) 
PLUNKETT: 

Begin  now,  I  command  it. 
HARRIET  AND  NANCY: 

We  cannot! 
LIONEL  AND  PLUNKETT  (.astonished)  : 

How?     What? 

Sit  down  now! 
GIRLS: 

We're   seated.    (Taking  seats  behind  the  wheels.) 
PLUNKETT: 

Turn  the  wheel!  brr,  brr,  brr! 

(Imitating  the  noise  of  the  wheel.) 
GIRLS: 

It  will  not  turn ! 
LIONEL: 

With  your  thumb  and  your  first  finger 

Draw  a  thread  and  twist  it  round. 
GIRLS   (I'M  mock  despair): 

But  the  stubborn  wheel  won't  move,  sir! 


LIONEL  AND  PLUNKETT  (spinning): 

When  the  foot  the  wheel  turns  lightly 
Let  the  hand  the  thread  entwine; 
Draw  and  twist  it.  neatly,  tightly, 

fine! 


HARRIET   AND   NANCY  (sitting  down  at  the  wheels)  : 
What  a  charming  occupation 
Thus  to  make  the  thread  entwine; 
Gently  guided,  drawn  and  twisted, 
It  becomes  both  strong  and  fine! 


Then  'twill  be  both  strong  and 
At  the  close  of  the  quartet  Nancy  maliciously  overturns  the  wheel  and  runs  out,  pur- 
sued by  Plunkett,  and  leads  him  a  merry  chase,  causing  him  to  lose  his  temper,  while 
Lionel  finds  himself  falling  in  love  with  the  beautiful  Martha.  She  laughs  at  him,  but  is 
nevertheless  impressed  with  his  good  looks  and  manly  bearing;  so  much  so  that  when 
he  asks  her  to  sing  she  consents,  and  taking  the  rose  from  her  bosom  she  sings  the  exquisite 
"  Last  Rose  of  Summer." 

Last  Rose  of  Summer 

By  Adelina  Patti,  Soprano 

By  Luisa  Tetrazzini,  Soprano 

By  Marcella  Sembrich.  Soprano 

By  Alice  Nielsen,  Soprano  (In  English) 

By  Elizabeth  Wheeler,  Soprano  (DoMe-Faced)   (In  English) 


(In  English)  95O3O 
(In  English)  88308 

(In  English)  88102 
74121 
16813 


12-inch,  $5.0O 
12-inch.  3.OO 
12-inch,  3.00 
12-inch. 
lO-inch, 


1.50 

.75 


VICTOR     BOOK     OF     THE    O  P  E  R  A~  F  L  OTO  WS    MARTHA 

As  is  generally  known,  this  air  is  not  by  Flotow,  but  is  an  old  Irish  tune,  to  which 
Moore  fitted  his  poem.  In  fact,  Martha  undoubtedly  owes  much  of  its  vogue  to  this 
ancient  Irish  air.  The  melody  is  a  very  old  one  called  "  The  Groves  of  Blarney."  Moore 
wrote  the  words  about  1813,  and  they  have  become  the  most  popular  of  all  his  verses. 

'Tis  the  last  rose  of  summer,  I'll  not  leave  thee,  thou  lov'd  one. 

Left  blooming  alone;  To  pine  on  the  stem; 

All   her   lovely   companions  Since  the  lovely  are  sleeping, 

Are  faded  and  gone;  Go  sleep  thou  with  them. 

No  flower  of  her  kindred,  Thus  kindly  I  scatter 

No  rosebud  is  nigh  Thy  leaves  o'er  the  bed — 

To  reflect  back  her  blushes,  Where  thy   mates  of  the  garden 

Or  give  sigh  for  sigh!  Lie   scentless  and  dead! 

Nancy  now  returns,  still  pursued  by  the  exasperated  Plunkett. 

PLUNKETT:  PLUNKETT  (releasing  her): 

Don't  you  try  this  game  again,  girl!  l>y  the  prophets!  she  has  spirit! 

Where  do  you  suppose  she  was?  I  confess,  that  pleases  me! 

In  the  kitchen  was  the  vixen  NANCY   (plaintively)  : 


caking  bottles,  glasses,  dishes,  Martha! 

id  a  good  deal  have  I  suffer'd,  PLUNKETT: 

Till  at  last  I  caught  the  lass!  Pooh!     What's  wrong  with  you  now? 


NANCY:  Standing  as  if  thunder-struck 

Let  me  go!     Don't  make  me  mad,  sir,  Get  yourselves  to  bed,  ye  idlers! 

Or  some  scratching  you  will  see!  Off  with  you,   my  saucy   Puck! 

(The   clock   strikes   twelve.) 

The  farmers,  somewhat  subdued  by  the  knowledge  that  they  have  engaged  two  most 
spirited  and  insubordinate  damsels,  now  bid  their  new-found  servants  good  night  in  this 
beautiful  number,  one  of  the  gems  of  Flotow's  opera. 

Quartette  notturno  (Good  Night  Quartet) 

By  Frances  Alda,  Soprano  ;  Josephine  Jacoby,  Contralto  ;  Enrico  Caruso, 

Tenor ;  Marcel  Journet,  Bass  (In  Italian)       95210      12-inch,  $5.OO 

By  Lyric  Quartet      (Double-faced,  **  page  260)     (In  English)      17226     10-inch.        .75 

PLUNKETT  AND  LIONEL:  Still   your  sauciness  is  rather 

Midnight  sounds!  To  my  liking — do  you   know? 

LADY  AND  NANCY:  MARTHA  AND  ISANCY  : 

Midnight  sounds!  Yes,  good-night!  such  night  as  never 

LIONEL   (to  Martha):  We  have  lived  to  see  before; 

Cruel  one,  may  dreams  transport  thee  Were  I  but  away,  I'd  never 

To  a  future  rich  and  blest!  Play  the  peasant  any  more! 

And  tomorrow,  gently  yielding,  ALL: 
Smile  upon  me!   sweetly  rest!  Good-night! 

PLUNKETT    (to  Nancy) :  (Harriet    and   Nancy    retire    to    their    chamber, 

Sleep  thee  well,  and  may  thy  temper  and  Plunkett  and  Lionel  leave   by   the  large 

Sweeter  in   my  service   grow;  door,  locking  it  after  them.) 

The  maidens  now  peep  out  from  their  room,  and  seeing  no  one,  come  out,  and  are  ex- 
citedly discussing  their  chances  of  escape,  when  Tristan's  voice  is  heard  outside  softly  calling 
to  them.  Overjoyed,  they  make  their  escape  through  the  window,  and  return  to  their 
home  in  the  carriage  provided  by  Tristan. 

ACT  III 

SCENE— A  Hunting  Park  in  Richmond  Forest 

Act  III  represents  the  Forest  of  Richmond,  where  the  Queen  is  hunting  with  her  attend- 
ants. The  young  farmers,  who  have  sought  vainly  for  their  late  servants,  have  come  hither 
to  witness  the  hunting  and  forget  the  two  maidens  who  have  wrought  such  havoc  with  their 
affections. 

The  act  opens  with  the  spirited  apostrophe  to  porter  beer,  sung  by  Plunkett. 

Canzone  del  porter  (Porter  Song) 

By  Marcel  Journet,  Bass  (In  Italian)     64O14      10-inch,     $1.OO 

By  Carlos  Francisco    (Double-faced,  ,ee  page  260)     (In  Italian)      16812      lO-inch,          .75 

This  most  famous  of  old  English  beverages  is  highly  praised  by  the  jovial  Plunkett,  who 
gives  it  credit  for  much  of  Britain's  vigorous  life. 

258 


VICTOR     BOOK    OF     THE     O  P  E  R  A  — FLOTO  W'S    MARTHA 


THE    QUEEN  S     HUNTING     PARK ACT 


And  that  explaineth  where'er  it  reigneth 

Is  joy  and  mirth!     At  ev'ry  hearth 

Resounds  a  joyous  song! 

Look  at  its  goodly  color  here ! 

Where  else  can  find  you  such  good  beer? 


PLUNKETT: 

I  want  to  ask  you,  can  you  not  tell  me, 
What  to  our  land  the  British  strand 
Gives  life  and  power?  say! 
It  is  old  porter,  brown  and  stout, 
We  may  of  it  be  justly  proud, 

It  guides  John   Bull,  where'er  he  be,  So  brown  and  stout  and  healthy,  too! 

Through  fogs  and  mists,  through  land  and  sea!  The  porter's  health  I   drink  to  you! 

Yes,  hurrah!   the  hops,  and  hurrah!   the  malt, 

They  are  life's  flavor  and  life's  salt. 
Hlitfrah!  Tra,   la,  la,  la,  la,  la,  la,  la! 

The  farmers  disperse,  leaving  Lionel  alone,  and  he  sings  his  famous  "M'appari,"  the 
melodious  air  of  the  broken-hearted  lover,  in  which  he  tells  of  his  hopeless  passion  for  the 
fair  Lady  Harriet,  whom  he  knows  only  as  Martha. 

M'appari  (Like  a  Dream) 

By  Enrico  Caruso,  Tenor 
By  Evan  "Williams,  Tenor 

LIONEL: 

Like  a  dream   bright  and  fair, 
Chasing  ev'ry  thought  of  care, 
Those  sweet  hours  pass'd  with  thee 
Made  the  world  all  joy  for  me. 
But,  alas!  thou  art  gone, 

And  that  dream  of  bliss  is  o'er. 
Ah !   I  hear  now  the  tone 

Of  thy  gentle  voice  no  more;  ^n^*.  agam,  amu  i_nct»    my   ucaii. 

Lionel  suddenly  encounters  Lady  Harriet,   and  although  amazed  at    seeing   her  in   the 
dress  of  a  lady,  warmly  pleads  his  love. 
LIONEL: 

Yes,   'tis  thee! 

Once  more  I  do  behold  thee! 
Praised  be  God;   it  is  no  dream! 
HARRIET   (aside): 

My  heart! 
LIONEL: 

Lookest  down   so  proudly: 

Yet  my  heart  knew  thee  at  once. 


(In  Italian)      880O1      12-inch,     $3.OO 
(In  English)      74128     12-inch,       1.5O 

Oh!  return  happy  hours,  fraught  with  hope 

so  bright; 

Come  again,  sunny  days. 
Sunny  days  of  pure  delight. 
Fleeting  vision  cloth'd  in  brightness, 

Wherefore  thus,  so  soon  depart; 
O'er  my  pathway  shed  thy  lightness 

Once  again,   and  cheer  my  heart. 


HARRIET     (with  dignity): 

Knew  me?     You're  mistaken! 

LIONEL: 

I've  hoarded  thy   fair  image 
Deep    in   my   breast — No — 


This  dress  does  not  deceive  me — 

Tis  thee,   thee!      Be   Heaven  blest! 
HARRIET: 

Madman,  you  dream ! 
LIONEL: 

Ah!    If  but  a  dream, 

This,  a  creation,   of  my  brain. 

Then,   oh   Martha,   let  me  enjoy 

This  delusion  while  it  lasts! 

(He  attempts  to  seize  her  hand.) 
HARRIET: 

Hold!   presumptuous  man! 

No  further!  thou  hast  rav'd  too  long  unchcck'd! 


259 


VICTOR     BOOK     OF     THE     O  PE  R  A  —  F  LOTO  WS    MARTHA 


Lady  Harriet  is  forced  to  call  the  hunters,  to  whom  she  declares 
that  Lionel  must  be  mad.  He  is  distracted,  while  Plunkell  endeavors  to 
console  him.  The  great  finale,  a  part  of  which  closes  the  Opera  Medley 
(see  below),  then  occurs.  It  is  a  magnificent  piece  of  concerted  music. 

ACT  IV 
SCENE  l—Plunketfs  Farm  House 

Plunkett  is  discovered  alone,  musing  on  the  unhappy  plight  of  his 
foster  brother,  who,  since  his  rejection  by  Harriet,  is  inconsolable.  He 
sings  his  great  air,  which  is  often  omitted  in  American  presentations  of 
the  opera. 

II  mio  Lionel  (My  Unhappy  Lionel)         , 

By  Mattia  Battistini,  Baritone 

(In  Italian)     920O5      12-inch,     $3.0O 


ccess  in   this   role  at  Covent  Garden  is  well  remembered. 


Poor  Lionel !  he  sighs,  he  laments, 

He  flies  from  his  friend; 

He  is  beside  himself  with  love 

Accursed  be  the  hour 

When   first  we   saw   that   girl. 

When   first   we   brought   her   beneath   our 

Soon  will  my  Lionel  die, 


If  no  aid  come  from   on   high; 

Fatal  the  hour. 

When   first   his   heart  felt   love's  pow'r; 

Weeping,   he  wanders  in  grief, 

Nought  to   his  pain  brings  relief; 

Merciful   God,   hear   my  cry, 

Else  must  my   Lionel   die! 


Nancy  now  enters,  and  she  and  Plunkett  soon  come  to  an  understanding.  They  decide 
to  present  Lionel's  ring  to  the  Queen,  hoping  thus  to  clear  up  the  mystery  of  his  birth. 

SCENE  II— A  Representation  of  the  Richmond  Fair 

Lionel's  ring  has  been  shown  to  the  Queen,  who  discovers  that  the  young  man  is 
really  the  son  of  the  banished  Earl  of  Derby.  However,  he  refuses  to  accept  his  rightful 
rank  and  continues  to  brood  over  the  insult  offered  him  in  the  forest.  As  a  last  resort  a 
complete  reproduction  of  the  Fair  Scene  of  Act  II  is  arranged,  with  booths  and  the  crowd 
of  servants  all  represented.  Harriet,  Nancy  and  Plunkett  are  dressed  in  the  costumes  worn 
at  their  first  meeting. 

Lionel  is  led  in  by  Plunkett,  and  when  he  sees  Harriet  in  the  dress  of  a  servant,  the 
cloud  seems  to  pass  from  his  mind  and  he  embraces  her  tenderly.  The  two  couples  pledge 
their  troth  and  all  ends  happily. 


DOUBLE-FACED  AND  MISCELLANEOUS  MARTHA  RECORDS. 

By  Pryor's  Band) 


12-inch,     $1.25 


lO-inch. 


10-inch, 


(Overture  to  Martha 

Nocturne  in  El  (Opus  9)      (Chopin)  [35133 

By  Victor  Sorlin,   'Cellist     (Piano  ace.  )  | 
( Last  Rose  of  Summer  By  Elizabeth  Wheeler,  Soprano] 

(In  English)  \168l  3 

Tannhauser — The  Evening  Star  By  Victor  Sorlin,  'Cellist] 

I  Good  Night  Quartet  By  Lyric  Quartet) 

Madrigal  from  "  The  Mikado  "    (Brightly  Dawns  our  Wedding        17226 

Dai;)      (Gilbert-Sullivan)  By  Lyric  Quartet] 

Canzone  del  porter     (Porter  Song) 

By  Carlos  Francisco.  Baritone      (In  Italian) 
Trovatore — //  balen  del  suo  sorriso      (  The  Tempest  of  the  Heart) 

By  Francesco  Cigada,  Baritone   (In  Italian) 

Gems  from  Martha 

Chorus    of    Servants — Quartet,  "  Swains   So    Shy " — "  Last    Rose  of    Sum- 
mer " — "  Good    Night    Quartet  " — "  May    Dreams    Transport    Thee  " — Finale, 
"  Ah,  May  Heaven  Forgive  Thee." 
By  the  Victor  Opera  Company  (In  English)     31797     12-inch,     $1.OO 


16812       lO-inch, 


(Italian) 

BALLO  IN  MASCHERA 

(MaW-ikeh.rah) 


(French)  f 

BAL  MASQUE 

(Bahf  Mara-kau) 

OPERA  IN  THREE  ACTS 


(English) 

MASKED  BALL 


Text  by  M.  Somma,  music  by  Verdi.  First  produced  in  Rome  at  the  Teatro  Apollo, 
February  17,  1859;  at  Paris,  Theatre  des  Italiens,  January  13,  1861.  First  London  production 
June  15,  1861.  First  New  York  production  February  11,  1861. 


Characters 

RICHARD,  Count  of  Warwick  and  Governor  of  Boston Tenor 

REINHART,  his  secretary Baritone 

AMELIA,  wife  of  Reinhart Soprano 

ULRICA,  a  negress  astrologer Contralto 

OSCAR,  a  page Soprano 


Scene  and  Period :     In  and  near  Boston,  end  of  the  seventeenth  century. 


The  opera  was  composed  for  the  San  Carlo,  Naples,  and  first  called  Gustavo  III  (after  an 
assassinated  Italian  monarch),  but  after  the  announcement  had  almost  created  a  riot  in  Naples, 
Verdi  was  forced  to  change  the  scene  from  Stockholm  to  Boston,  and  the  name  to  Masked 
Ball.  Finally  it  was  thought  best  to  abandon  the  Naples  premiere  altogether,  and  the  opera 
was  taken  to  Rome. 

There  are  many,  of  course,  who  consider  this  work  old- 
fashioned — and  so  it  is,  not  pretending  at  all  to  be  a  great 
music  drama ;  but  there  are  many  far  more  ambitious  works 
•with  certainly  less  real  music.  The  familiar  Eri  lu  and  Saper 
oorreste  and  the  fine  concerted  numbers  in  Acts  II  and  III  are 
well  worth  hearing.  The  Victor  has  assembled  a  very  fine 
collection  of  the  best  music  in  the  opera,  and  presents  it 
with  the  belief  that  this  revival  is  the  best  heard  in  recent 
years. 

Richard,  Count  of  Warwick  and  Governor  of  Boston,  falls 
in  love  with  Amelia,  the  wife  of  Reinhart,  his  secretary  and 
intimate  friend.  This  love  is  returned,  but  the  wife's  conscience 
troubles  her,  and  she  consults  Ulrica,  a  black  sorceress,  hop- 
ing to  secure  a  drug  that  will  cause  her  to  forget  Richard. 
Ulrica  sends  her  to  gather  a  certain  herb  which  will  prove 
effective.  Richard,  who  had  also  gone  to  consult  the  astrolo- 
ger, overhears  the  conversation,  and  follows  Amelia  to  the  magic 
spot.  Amelia 's  husband,  who  has  come  in  search  of  Richard  to 
warn  him  of  a  conspiracy  to  assassinate  him,  now  appears,  and 
Richard  makes  his  escape,  after  requesting  Reinhart  to  escort 
the  veiled  lady  to  her  home  without  attempting  to  learn  her 
identity.  On  the  way,  however,  they  are  surrounded  by  the 
conspirators  and  Amelia  is  revealed.  Reinhart  swears  vengeance 
on  his  false  friend  and  joins  the  plotters. 

At  the  Masked  Ball,  Richard  is  stabbed  by  Reinhart,  but 
the  dying  man  declares  the  innocence  of  Amelia  and  forgives  COPY- 


his  murderer. 


CARUSO  AS  RICHARD 


261 


VICTOR     BOOK     OF     THE     OPERA-THE     MASKED     BALL 


ACT  I 

SCENE  I— A  Hall  in  the  Governor's  House 

The  hall  is  filled  with  people — officers,  deputies,  gentlemen,  etc. — waiting  for  the 
appearance  of  the  Governor.  He  enters,  is  warmly  greeted  by  those  assembled,  receives 
their  petitions  and  inspects  a  list  of  the  guests  invited  to  the  Masked  Ball.  He  sees  Amelia 's 
name,  and  in  an  aside  sings  his  rapturous  air. 

La  rivedra  nell'estasi     (I  Shall  Behold  Her) 

By  Nicola  Zerola,  Tenor 

(In  Italian)     64167      lO-inch.  ll.OO 

This,  the  first  of  the  lovely  gems  with  which  the  score 
of  Ballo  in  Maschera  is  studded,  is  effectively  given  by  Zerola, 
whose  beautiful  voice  is  shown  to  great  advantage. 

RICHARD   (reading  aside): 
Amelia— dear,   sweet  name! 
Its  mere  sound  fills  my  heart  with  joy! 
Her   beauteous,   charming   image 
Inspires  my  soul   with  love; 
Here  soon  shall  I   behold  her 
In  all   her   tender  charms. 
No  matter   what  the   splendor 
Of   night's   most  brilliant   stars, 
I  swear  none  is  so  brilliant 
As  my  love's  dazzling  eyes! 

Reinhart  enters  and  tells  the  Governor  of  a  plot  against 
his  life. 

Alia  vita  che  t'arride     (On  the  Life  Thou 
Now  Dost  Cherish) 

By  Mattia  Battistini    (Italian)    88232    12-in,,  $3.0O 
By  Titta  Ruffo         (In  Italian)    87113    10-in,.     2.0O 

In  this  fine  air  he  enthusiastically  praises  Richard's  noble  acts,  and  tells  him  his  friends 
and  faithful  subjects  will  defeat  the  plans  of  the  conspirators. 

A  negro  woman,  Ulrica,  is  now  brought  in  and  accused  of  being  a  witch.  Richard 
laughs  at  the  accusation  and  dismisses  the  woman.  He  calls  his  courtiers  around  him,  and 
suggests  that  for  a  lark  they  go  disguised  to  the  hut  of  the  sorceress  and  consult  her.  The 
friends  agree,  and  the  plotters,  headed  by  Samuel  and  Tom,  see  a  chance  to  further  their 

SCENE  II—  The  Hut  of  Ulrica 

The  hut  is  crowded  with  people  who  have  come  to  have  their  fortunes  told.  The 
sorceress  stands  over  her  magic  cauldron  and  sings  her  incantation. 

Re  dell'  abisso  (King  of  the  Shades) 

By  Carolina  Pietracewska,  Contralto  (In  Italian)      76O05      12-inch,  $2.OO 

She  calls  on  the  abyssmal  king  to  appear  and  aid  in  her  mystic  rites. 


ZEROLA    AS    RICHARD 


ULRICA   (as  if  inspired)  : 

Hasten,  O  King  of  the  Abyss! 

Fly  through   the   ambient  air 

And   enter   my  abode. 

Three   times   has  been   heard   screeching, 


The  ominous  lapwing. 

Three   times,   too,   has  been  hissing 

The   venomous   red   dragon, 

And  three  times  have   been   groaning 

The   spirits   from   the  graves! 


The  Governor  now  arrives,  dressed  as  a  sailor,  and  accompanied  by  his  companions. 
They  are  conversing  with  the  witch  when  a  knock  is  heard,  and  all  leave  the  hut  by  Ulrica's 
orders  except  Richard,  who  conceals  himself  in  a  corner. 

Amelia  enters  and  asks  the  sorceress  to  give  her  peace  of  mind  by  banishing  a  love 
•which  she  cannot  control.  The  -witch  promises  speedy  relief  if  Amelia  will  gather  a  certain 
herb  from  which  can  be  brewed  a  magic  liquor. 

Delia  citta  aH'occaso  (Hard  by  the  'Western  Portal) 

By  Ida  Giacomelli,  Soprano  ;  Lina  Mileri,  Contralto ;  Gino 

Martinez-Patti.  Tenor  (In  Italian)     *68143     12-inch,  $1.25 


Doubk-FaceJ—See  page  266. 


VICTOR     BOOK     OF     THE     OPERA— THE     MASKED     BALL 


Amelia  asks  for  directions,  and  the  witch  proceeds : 

ULRICA:  Accurs'd,   abhor'd,   deserted, 

Then   pause  and  listen.  And  cull   the   flowers  lowly 

Go  from  the  city  eastward,  From   those   black   rocks   unholy, 

To   where   by   gloom   engirted  Where   crimes   have   dark  atonement   made 

Fall  the   pale  moonbeams  on  the  field,  With   life's   departing   sigh! 

The  frightened  girl  consents  to  go  that  very  night,  and  takes  her  departure.  Ulrica  now 
admits  the  people  again,  and  Richard,  in  the  character  of  the  sailor,  asks  her  to  tell  his  for- 
tune. His  inquiry  of  the  prophetess  takes  the  form  of  a  barcarolle — the  favorite  measure  of  a 
sea-song — and  the  ballad,  vigorous  and  tuneful,  has  all  the  swing  of  a  rollicking  song  of  the  sea. 

Di  tu  se  fidele  (The  "Waves  Will  Bear  Me) 

By  Enrico  Caruso,  Tenor,  and  Metropolitan  Opera  Chorus 

(In  Italian)     87O91      lO-inch,  $2.OO 

This  attractive  ballad  is  full  of  humor,  the  staccato  passages 
toward  the  close  indicating  the  Governor's  impatience  to  learn 
the  future.  In  a  gay  mood  he  banters  the  woman,  asking  her 
to  tell  him  if  he  will  meet  with  storms  on  his  next  voyage. 

Declare   if   the   waves   will   faithfully   bear   me; 
If    weeping    the    lov'd   one   from    whom    I    now 

tear  me, 

Farewell,   to   me   saying,   my   love   is  betraying. 
With    sails    rent    asunder,    with    soul    in    com- 
motion, 
I    go    now    to    steer    thro'    the    dark    waves    of 

ocean, 

The  anger  of  Heav'n  and  Hell  to  defy! 
Then      haste      with      thy      magic,      the      future 

exploring, 
No    power    have    the    thunder    or    angry    winds 

roaring, 

Or  death,  or  affection  my  path  to  deny! 

This  famous  Barcarolle  has  been  a  favorite  with  many  great 
tenors,  but  no  one  has  ever  sung  it  as  Caruso  has  given  it  here. 
Ulrica  rebukes  him,  and  examining  his  palm,  tells  him  he  is 
soon  to  die  by  the  sword  of  that  friend  who  shall  next  shake  his 
hand.      The  conspirators,  Samuel  and  Tom,  are  uneasy,  thinking 
themselves  suspected,  but  the  Governor  laughs  and  asks  who  will 
grasp  his  hand  to  prove  the  prophecy  false.     No    one   dares   to 
grant  his  request. 

Reinhart,  who  has  become  anxious  about  his  chief  and  has  come  in  search  of  him,  now 
enters,  and  seeing  the  Governor,  shakes  him  by  the  hand,  calling  him  by  name,  to  the 
astonishment  of  all  those  not  in  the  secret.  5/r  Richard  tells  the  witch  she  is  a  false  prophet, 
as  this  is  his  most  faithful  friend. 

RICHARD: 

The   oracle   has  lied! 

That  man  who  grasped  my  hand 

Is  my  most  faithful  friend! 

All  the  people  greet  the  Governor  with  cheers,  and  kneeling,  sing  the  hymn : 

O  figlio  d'Inghilterra  (O,  Son  of  Glorious  England) 

By  Giuseppina  Huguet,  Soprano ;  Ines  Salvador,  Mezzo-Soprano ;  Francesco 
Cigada,  Baritone ;  Aristodemo  Sillich,  Bass ;  La  Scala  Chorus 

(Doubk-Faced- Seepage 266)  (In  Italian)     63173      lO-inch,  $O.75 

This  noble  concerted  number,  which  closes  the  first  act,  is  sung  in  a  splendid  manner 
by  Huguet,  Salvador,  Cigada  and  Sillich  of  La  Scala  forces,  assisted  by  the  famous  chorus 
of  that  opera  house. 

ACT  II 

SCENE  I — A  Field  near  Boston— on  one  side  a  Gallows 

Amelia,  much  frightened  by  her  lonely  surroundings,  enters  in  search  of  the  magic  herb. 
She  sings  her  dramatic  air,  Yonder  Plant  Enchanted. 


GORITZ    AS   REINHART 


VICTOR     BOOK     OF     THE      OPERA  — THE     MASKED      BALL 


Ma  dall'arido  stelo  divulsa  (Yonder  Plant  Enchanted) 


By  Celestina  Boninsegna,  Soprano 
By  Lucia  Crestani,  Soprano 


(In  Italian) 
(In  Italian) 


92OOO 
^68143 


12-inch,  $3.OO 
12-inch,     1.23 


AMELIA: 
Whe 


last  from  its  stem  I  shall  sever 
Yonder  weed  of  dread  virtue  enchanted, 
From   my   tempest-torn    bosom    forever 
When    that    image    so   ethereal    shall    perish, 
What   remains  to  thee   then,   oh,   my   heart! 
Ah,  tears  blind  me! 
The  weight  of  my  sorrow 
Chains  my  steps  on  their  desolate  journey! 
Heart,   have   courage; 

From  these   rocks  their  hardness  borrow! 
Come,   oh,   Death,   let  thy   merciful   dart, 
Still   forever  my   poor  throbbing  heart! 
(A    distant   clock  strikes.) 
Hark!   'tis  midnight!   Ah.  yon  vision! 
Moving,  breathing,  lo!   a  figure, 
All    mist-like   upward   wreathing! 
Ha!   in   those   orbits   baleful   anger   is   seething; 
Fix'd  on  me  they  angrily  burn! 
Deign,    oh,    Heaven.    Thy   strength    to   impart 
To   this   fainting,    fear-stricken   heart. 


The  vision  resolves  itself  into  Richard,  -who  now 
approaches.  The  unhappy  girl  confesses  that  she  loves 
him,  but  begs  him  to  leave  her.  They  sing  a  fine 
duet. 


Ah  !    qual  soave  brivido     (Like  Dew  Thy  'Words  Fall  on  My 
Heart) 


By  Ida  Giacomelli,  Soprano,  and  Gino  Martinez-Patti,  Tenor 

(In  Italian)      *68O26 


12-inch,  $1.25 


IICHARD: 

Like  dew  thy  words  fall  on  my  heart, 
Aglow   with   love's   fond   passion! 
Ah,     murmur     with     compassion     those 

words  again ! 

Bright  star  that  bidst  all  gloom  depart, 
My  hallow'd  love  enshrining; 
While  thus  on   me  thou'rt  sr. 


in-, 


st  me! 


Ah,   let  night  forever  reign! 

RICHARD 
Amelij 
AMELIA: 
I  love  thee, 
But    thy    noble    heart    will    protect    me 


AMELIA: 

From  out  the  cypress  bower, 
Where  I  had  th?ught  it  laid  in  death, 
gentle         Returns   with   giant   power,    the   love   my   heart 

doth  fear! 

Ah,  would  by  Heaven  'twere  granted, 
To  sigh  for  him  my  latest  breath, 
Or   in    death's   sleep  enchanted   rest   my    weary 
spirit   here! 


They  are  interrupted  by  the  appearance  of  Reinhart,  who  comes  to  warn  Richard  that 
his  enemies  are  lying  in  wait  to  murder  him.  Richard,  unwilling  to  leave  Amelia,  is  forced 
to  ask  Reinhart  to  escort  the  veiled  lady  to  the  city  without  seeking  to  discover  her  identity. 
Reinhart  swears  to  obey,  and  Richard  makes  his  escape.  The  couple  start  for  Boston,  but 
are  surrounded  by  the  conspirators,  who  take  Reinhart  to  be  the  Governor.  Disappointed 
in  their  prey,  they  tear  the  veil  from  the  unknown  lady  and  Reinhart  is  astounded  to  see  that 
it  is  his  wife.  The  great  finale  to  Act 


now  occurs. 


Ve*  se  di  notte  qui  con  la  sposa  (Ah !  Here  by  Moonlight) 

By  Ida  Giacomelli,  Soprano ;  Renzo  Minolfi,  Baritone ;  Cesare  Preve,  Bass ; 

Chorus  (In  Italian)     *35179      12-inch,  $1.25 

Amelia  is  overcome  with  shame,  but  protests  her  innocence.  Reinhart  bitterly  upbraids 
her  and  denounces  his  false  friend  Richard,  while  the  conspirators  depart,  anticipating  the 
sensation  which  the  city  will  enjoy  on  the  morrow. 


Double-Face  J  Record— For  title  of  opposite  side 


:  page  266. 
264 


VICTOR     BOOK     OF     THE     OPERA-THE     MASKED     BALL 

Reinhart,  now  bent  on  revenge,  decides  to  cast  his  lot  with  the 
plotters,  and  the  act  closes  as  he  says  to  Amelia  with  deep  meaning : 

REINHART  (alone  with  Amelia) :  AMELIA   (aside) : 

I  shall   fulfill  my  promise  His  voice  like  a  death  warrant 

To  take  thee  to  the  city!  Doth   sound  in  my  ear! 

ACT  III 

SCENE  1— A  Room  in  Reinhart 's  House 

Reinhart  is  denouncing  Amelia  for  her  supposed  crime,  and  finally 
decides  to  kill  her.  She  begs  to  be  allowed  to  embrace  her  child 
once  more,  and  her  husband  consenting,  she  goes  out.  Left  alone, 
the  unhappy  man  repents  his  resolution,  and  resolves  to  spare  the 
guilty  woman's  life.  In  the  greatest  of  the  airs  allotted  to  Reinhart  he 
swears  to  avenge  his  wrongs. 

Eri  tu  che  macchiavi  queiranima  (Is  It  Thou  ?) 

By  Emilio  de  Gogorza,  Baritone 

(In  Italian)        88324      12-inch,  $3.00 

By  Mattia  Battistini        (In  Italian)       92044     12-inch,     3.OO 
By  Francesco  Cigada       (In  Italian)      *35179      12-inch,      1.25 
By  Giuseppe  de  Luca      (In  Italian)     *62086     10-inch,        .75 
Samuel  and  Tom  enter  and  Reinhart  tells  them  he  knows  of  their 
plots,  and  will  assist  them,  as  he  desires  the  Governor's  death.     They 
draw  lots,  and  Reinhart  is  chosen  to  be  the  assassin.     Amelia  enters  in 
time   to   realize    the   state   of    affairs,    and   is   about   to   plead    for    the 
Governor's  life,  when  Oscar,  the  page,  enters  bearing  an  invitation  to 
the  Masked  Ball.     The  page,  beginning  an  effective  quartet,  tells  of  the  8AMMARCO  AS  »EINHARI 
brilliancy  of   the  occasion,  and   at  the  close  of   the  number  the  conspirators  go  out,  after 
agreeing  on  the  password,  "  Death  !  " 

Di  che  fulgor  (What  Dazzling  Light) 

By  Giuseppina  Huguet,  Soprano :  Francesco  Cigada,  Baritone ;  Carlo 

Ottoboni.  Bass  ;  Maria  Grisi,  Soprano       (In  Italian)     *62O86      lO-inch,  $O.75 

SCENE  II—  The  Governor's  Private  Office 

Richard,  alone,  resolves  to  tear  the  unworthy  love  from  his  heart  and  send  Amelia  and 
Reinhart  to  England. 

Ma  se  m'e  forza  perderti— Romanza     (Forever  to  Lose  Thee  !) 

(Preceded  by  the  recitative,  Forse  la  soglia — This  Affair  Must  End !) 

By  Enrico  Caruso,Tenor  (In  Italian)     88346     12-inch,  $3.OO 

The  recitative  indicates  this  decision  : 

RICHARD: 

Haply  I  have  decided,  finding  peace  of  mind 

Reinhart  will  return  to  his  country, 

His  wife,  submissive,  will  follow  him. 

Farewells  unspoken,  the  broad  ocean  will  divide  us. 

He  summons  courage  and  writes  the  order  for  the  departure  of  Reinhart.  Concealing  it 
in  his  bosom,  he  gives  expression  once  more  to  his  love  for  the  fair  Amelia  : 

RICHARD: 

If  compelled  to  lose  thee  now  Within  my  inmost  heart. 

To  part  from  thee  forever:  And  now,  what  dark  forebodings 

My  burning  thoughts  will  fly  to  thee,  Around  my  soul  are  thronging? 

Though   fate  our  lot  may  sever.  When,  once  more  to  behold  thee, 

Thy  memory  still  enshrined  shall  be  Seems  like  a  fatal  longing! 

Caruso  sings  this  lovely  air  with  that  wonderful  ease  of  delivery  and  golden  voice  which 
have  made  him  the  greatest  of  tenors. 

A  page  brings  a  note  to  the  Governor  from  an  unknown  lady  who  warns  him  of  the 
plot,  but  Richard  resolves  to  brave  his  enemies  and  attend  the  ball. 

*  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  MASKED  BALL  RECORDS,  page  266. 

265 


VICTOR     BOOK     OF     THE     OPERA— THE     MASKED     BALL 


SCENE  III—  Grand  Ballroom  in  the  Governor's  House 

Reinhart,  mingling  with  the  guests,  meets  the  page  Oscar,  and  attemps  to  learn  how  the 
Governor  is  dressed.     The  page  teases  him,  singing  his  gay  air,  Saper  vorreste. 


Saper  vorreste  —  Canzone 
be  Hearing) 


(You  Would 


By  Luisa  Tetrazzini,  Soprano 

(In  Italian)      883O4      12-inch,  $3.00 

In  reply  to  Reinhart  's  questions  the  merry  page  tauntingly  sings  : 


Osc..«. 

You'd  f 


You  d  fain  be  hearing,  what  dress  he  s  wearn 
When   he  has  bidden,   the  fact  be   hidden? 
I   know   right   well  but   may   not  tell 

T«__-        1-        1_        1  _  1_        1_        1_. 


Tra  la  la  la,  la  la  la! 
Of  love  my  heart  feels  all  the  smart, 
Yet  watchful  ever,  my  secret  never 

bright  eyes  shall   e'er  surprise! 
i  la  la,  la  la  la! 


Rank  no 


This  gay  number  is  brilliantly  sung  by  Tetrazzini,  the  high  B 
in  the  cadenza  being  taken  with  ease. 

The  page  finally  reveals  to  Reinhart  that  the  Governor  is 
dressed  in  black,  with  a  red  ribbon  on  his  breast. 

Amelia  meets  the  Governor  and  warns  him  against  the  plot- 
ters. He  bids  her  farewell  and  is  about  to  go,  when  Reinhart  stabs 
him.  The  dying  Governor,  supported  in  the  arms  of  his  friends, 
tells  Reinhart  that  his  wife  is  guiltless,  and  that  to  remove  her  from 
temptation  he  had  planned  to  send  Reinhart  to  England  to  fill  an 
honored  post. 

The  secretary  is  overcome  with  remorse,  and  Richard  dies, 
after  declaring  that  Reinhart  must  not  be  punished. 


DOUBLE-FACED  MASKED  BALL  RECORDS 

[Delia  citta  all'occaso     (Hard  by  the  Western  Portal) 

By  Giacomelli,  Mileri  and  Martinez-Patti     (In  Italian) 
| Ma  dall'arido  stelo  divulsa    (Yonder  Plant  Enchanted) 

By  Lucia  Crestani,  Soprano     (In  Italian) 

Ve'  se  di  notte  qui  con  la  sposa     (Here  By  Moonlight)  I 

By  Giacomelli,  Minolfi,  Preve  and  Chorus     (In  Italian)  [35179 
Eri  tu      (Is  it  Thou  1)  By  Francesco  Cigada     (In  Italian) } 

Ah !  qual  soave  brivido    (Like  Dew  Thy  'Words  Fall  on         1 
My  Heart)  By  Giacomelli  and  Martinez-Patti' 

Forza  del  Destino — Non  imprecare  umiliati — By  Ida  Giacomelli, 

Gino  Marlinez-Patti  and  Cesare  Preve  (In  Italian)  | 

1O  figlio  d'Inghilterra  (Oh,  Son  of  Glorious  England)  I 

By  Huguet,  Salvador,  Cigada,  Sillich  and  Chorus     (In  Italian)  ^63 1  73 
Ernani — Ernani  inVolami  By  Maria  Grisi,  Soprano      (In  Italian)  ] 

I  Eri  tu      (Is  it  Thou  ?)  By  Giuseppe  de  Luca      (In  Italian) 

Di  che  fulgor     (What  Dazzling  Light) 
By  Huguet,  Cigada,  Ottoboni  and  Grisi     (In  Italian) 


68143      12-inch,  $1.25 


12-inch,     1.25 


68026      12-inch,      1.25 


[Masked  Ball  Selection      (Part  of  Ballet  Music  and  the 
I     Aria,  "  Saper  vorreste,"  Act  III)      (Verdi) 

Vessella's  Italian  Band 
[     Huguenots — Grand  Selection  Arthur  Pryor's  Band 


10-inch,       .75 


62O86     lO-inch,       .75 


17314     10-inch,       .75 


SCENE    FROM    MEFISTOFELI 


(French) 

MEFISTOFELE 

(May-phes-stoh'-feh-leh) 


(English) 

MEPHISTOPHELES 

(Mef-ita-lof -e-leez) 


OPERA  IN  FOUR  ACTS 

Text  and  music  bv  Arrigo  Boito ;  a  paraphrase  of  both  parts  of  Goethe's  "  Faust,"  with 

additional  episodes  taken  from  the  treat- 
ment of  the  legend  by  other  authorities. 
The  first  production  at  La  Scala,  Milan, 
1 868,  •was  a  failure.  Rewritten  and  given 
in  1875  with  success.  First  London  pro- 
duction July  6,  1880.  First  American 
production  at  the  Academy  of  Music, 
November  24,  I860,  with  Campanini, 
Gary  and  Novara.  Other  productions 
were  in  18%,  with  Calve,  and  in  1901 
•with  Mclntyre,  Homer  and  Plan^on. 
Some  recent  notable  revivals :  At  the 
Metropolitan,  •when  the  opera  was 
brought  out  for  Chaliapine,  the  cast 
including  Farrar  and  Martin,  and  the 
Boston  Opera  production  of  1910, 
both  noteworthy  for  their  splendid 
settings. 

Characters 

MEFISTOFELE Bass 

FAUST Tenor 

MARGARET Soprano 

MARTHA Contralto 

WAGNER Tenor 

HELEN Soprano 

PANTALJS Contralto 

NEREUS Tenor 

Celestial  Phalanxes,  Mystic  Choir 
Cherubs,  Penitents,  Wayfarers,  Men 
at-arms,  Huntsmen,  Students,  Citi 
zens.  Populace,  Townsmen 
Witches,  Wizards,  Greek  Chorus 
Sirens,  Naiads,  Dancers,  Warriors. 


VICTOR    BOOK    OF    THE     OPERA  — BOITO'S     MEFISTOFELE 

Arrigo  Bolto  well  deserves  a  conspicuous  place  among  the  great  modern  composers.  His 
Mefistofele  ranks  with  the  masterpieces  of  modern  Italy,  and  contains  scenes  of  great  beauty, 
notably  the  Garden  Scene,  with  its  lovely  music,  and  the  Prison  Scene,  in  which  the  pathos  of 
the  demented  Margaret 's  wanderings,  the  beautiful  duet  and  the  frenzy  of  the  finale  are 
pictured  by  a  master  hand. 

Bolto  is  not  only  a  composer,  but  a  poet  of  ability  and  a  clever  librettist.  Notable  among 
his  writings  are  the  librettos  of  Verdi's  Otello  and  Falstaff,  which  should  rather  be  called 
dramas  set  to  music,  for  it  is  unfair  to  class  them  with  the  old-fashioned  Italian  librettos. 

The  story  of  Boito's  opera  is  directly  drawn  from  Goethe's  Faust,  but  the  composer  has 
chosen  episodes  from  the  -whole  of  Goethe's  story,  not  confining  himself  to  the  tale  of 
Gretchen,  but  including  the  episode  of  Helen  of  Troy.  In  his  Mefistofele  Bolto  has  folio-wed  the 
great  poet's  work  more  closely  than  did  Gounod's  librettist,  and  the  -work  is  a  deeper  one  in 
many  respects. 

PROLOGUE 
SCENE—  The  Regions  of  Space 

The  prologue  to  Bo'ito's  opera  is  a  most  impressive  scene,  -which  takes  place  in  the  indef- 
inite regions  of  space.  Invisible  angels  and  cherubim,  supported  by  the  celestial  trumpets, 
sing  in  praise  of  the  Ruler  of  the  Universe. 

Mefistofele  is  represented  hovering  between  Hell  and  Earth,  denying  the  power  of  God. 
He  addresses  the  Almighty  in  his  Hail,  Great  Lord! 

Ave  Signer  (Hail,  Sovereign  Lord) 

By  Marcel  Journet,  Bass  (In  Italian)     64126     10-inch,  $1.OO 

The  Devil  contends  that  man  is  but  a  weakling,  easily  cheated  of  his  salvation.     Standing 

on  a  cloud  Mefistofele  mockingly  addresses  the  Creator : 

Hail,    Sovereign   Lord, 
Forgive   me   if   my   bawling 
Somewhat  behind  is  falling 
Those  sublime  anthems  sung 
In  heavenly  places! 
Forgive  me  if  my  face  is 
Now   wanting  the   radiance 
That,   as  with   a   garland, 
The  cherub  legion   graces! 
Forgive  me  if  in  speaking, 

Some     risk     I'm     taking     of     irrev'rent     out- 
breaking! 

The   puny   king   of  puny   earth's  dominions, 
Erreth   through   wrong   opinions 
And   like   a   cricket,    with   a   long   leap   rushing, 
'Mid  stars   his   nose   is   pushing, 
Then   with  superb  fatuity  tenacious, 
Trills  with  pride  contumacious! 
Vain,    glorious   atom! 
Proud   'mid  confusion! 
Phantom   of  man's  delusion! 
Ah!    in    such   deep   degradation 
Is   fallen   the   master, 
Lord   of   the   whole   creation, 
No  more   have   I   the  will, 

While  in  that  station,  From  the  Ditson  Edition 

Him   to   tempt   to   ill !  Copy't  1880,  Oliver  Ditson  Co 


Then,  discussing  Faust  with  the  Mystic  Chorus,  Mefistofele  wagers  that  he  can  entice  the 
philosopher  from  the  path  of  virtue.  The  challenge  is  accepted,  and  Mefistofele  disappears 
to  begin  his  plots  against  the  soul  of  Faust. 

Journet  sings  this  great  number  splendidly,  and  it  will  be  pronounced  one  of  the  most 
striking  features  of  his  Victor  list. 

ACT  I 
SCENE  I — A  Square  in  Frankfort — Easter  Sunday 

The  aged  philosopher,  Faust,  and  his  pupil  Wagner,  while  mingling  with  the  crowd, 
observe  a  grey  Friar  who  seems  to  be  shadowing  their  movements.  Faust  is  alarmed  and 
says  to  Wagner: 

FAUST:     Observe  him  closely.     Tell  me,  who  is  he? 

WAGNER:     Some  lowly  Friar,   who  begs  alms  from  those  he  passes. 


VICTOR    BOOK    OF    THE    OPERA  — BOITO'S    MEFISTOFELE 

FAUST:     Look  more  closely.     He  moves  slowly  on  in  lessening  circles;  and  with  each  spiral,   comes 

ever  nearer  and  nearer.     Oh!  as  I  gaze,   I   see  his  footprints  marked  in  fire! 

WAGNER:      No,   master,    'tis   some   idle   fancy   that   thy   brain    deceives   thee;    I    only   see   there   a   poor 

•    grey  friar.     Timidly  he  ventures  to  approach  us,   and   we  are  to   him   but  two  passing   strangers. 

FAUST:      Now    he    seems   as   though    he    wove    nets   about   our   path.      His   circles    grow    smaller!      He 

draweth  close!     Ah! 
WAGNER    (carelessly):      Look  calmly.      'Tis  a   grey   friar,   and   not   a   specter.      Muttering   his   prayers, 

he  tells  his  beads  as  he  journeys.     Come  hence,  good  master. 

As  they  leave  the  square,  followed  by  the  Friar,  the  scene  changes  to  Faust's  laboratory. 

SCENE  II  -  The  Studio  of  Faust.     It  is  Night 

Faust  enters,  not  observing  that  the  Friar  slips  in  behind  him,  and  conceals  himself  in 
an  alcove.  The  aged  philosopher  delivers  his  soliloquy,  Dai  campi. 

Dai  campi,  dai  prati     (From  the  Green  Fields) 

By  John  McCormack,  Tenor  (In  Italian)     643O3      lO-inch,     $1.OO 

By  Alberto  Amadi,  Tenor       (Double- Faced)       (In  Italian)     63313     10-inch,         .75 
He  speaks  of  his  deep  contentment,  his  love  for  God  and  his  fellow  man. 
FAUST: 

From    the    meadows,    from    the    valleys,    which         Its  love  for  its  God! 

lie   bathed   in    moonlight,  Ah!     From  the  meadows,   from  the  valleys, 

And   where   paths   silent   sleep,    I    come    return-         1  come  to  read  the  blest  Evangels; 

ing;   my   soul   filled  Who   delight  me,   and  fill   me  with  holy  fire! 

With  calmness,   mysterious  and  deep.  (Opens    a    Bible    placed    upon    a    high    reading 

The  passions,   the  heart   rudely   trying,  desk.       As     he     begins     to     meditate     he     is 

In  quiet  oblivion  are  lying;  startled    by    a    cry    from    the    Friar    in    the 

My   spirit  knows  only   its  love   for   its   fellows;  alcove.) 

This  is  one  of  the  most  beautiful  of  all  Italian  operatic  airs,  and  is  sung  by  Mr.  McCor- 
mack with  a  loveliness  of  tone  which  makes  every  note  a  delight,  •while  a  lower-priced 
rendition,  and  an  excellent  one,  is  furnished  by  Mr.  Amadi. 

The  Friar  appears,  and  throwing  off  his  disguise,  reveals  himself  as  the  Devil,  singing  a 
splendid  aria,  /  Am  the  Spirit. 

Ballata  del  fischio,  "  Son  lo  spirito"  (I  Am  the  Spirit) 

By  Marcel  Journet,  Bass  (In  Italian)      74210     12-inch,  $1.5O 

Mefistofele  says  that  he  is  that  great  force  which  forever  thinketh  ill  but  doeth  well,  and 
then  continues  : 
MEFISTOFELE: 

I'm   the   spirit   that   denieth   all   things,   always;         On    I   go,   whistling!    whistling!        Eh! 
Stars    or    flowers — that    by    sneers    and    strife         Part  am  I  of  that  condition, 

supplieth  Of  the  whole  obscurity, 

Cause  to  vex  the   Heavenly  powers.  Child  of  darkness  and  ambition, 

I'm  for  Naught  and  for  Creation,  Shadows  hiding,  wait  for  me. 

Ruin    universal,    death!  If  the  light  usurps,  contending, 

And  my  very  life  and  breath.  On  my  rebel   scepter's  right, 

Is    what   here   they    call    transgression,    sin   and         Not  prolong'd  will  be  the  fight, 
Death!  Over  sun  and  earth  is  pending, 

Shouting  and   laughing  out  this  word   I   throw:         Endless  night! 
"No!"      Sland'ring,    wasting,    howling,    hissing,         Shouting  and  laughing,  etc. 
This  is  sometimes  called  Ballata  del  fischio,  or  Whistling  Ballad,  because  of  the  peculiar 
whistles  Boito  has  introduced  in  the  number.     Journet  delivers  this  splendid  number  with 
admirable  declamatory  power,  bringing  out  the  strange  symbolism  of  the  climax  in  a  thrill- 
ing manner. 

Mefistofele  offers  to  be  Faust's  servant  if  he  will  accompany  him.  "What  is  the  price?" 
asks  the  philosopher.  "  Up  here  I  will  obey  thee,"  says  Mefistofele,  "  but  below  our  places 
will  be  reversed."  Faust  says  he  cares  nothing  for  the  future,  and  if  Mefistofele  can  give  him 
but  one  hour  of  happiness,  for  that  one  hour  he  would  sell  his  soul.  The  bargain  is  made 
and  they  set  forth. 

This  departure  from  the  laboratory  of  Faust  is  strikingly  pictured  in  the  great  painting  of 
Kreling,  a  reproduction  of  which  is  given  on  page  267. 

ACT  II 

SCENE—  The  Garden  of  Margaret 

Faust  (now  a  handsome  young  man  known  as  Henry)  is  strolling  in  the  garden  with 
Margaret,  while  Mefistofele,  as  in  Gounod's  version,  makes  sarcastic  love  to  Martha,  whom 
Boito  has  pictured  as  Margaret's  mother.  Faust  pleads  for  a  meeting  alone  with  the  maiden, 

NOTE— Mefistofele  quotations  are  from  the  Ditson  libretto,  by  permission.     (Copy't  1880,  Oliver  Ditson  Company) 


VICTOR    BOOK    OF    THE    OP  E  RA  — B  OITO'S    MEFISTOFELE 


but  she  dares  not  consent  because  her  mother  sleeps  lightly. 
He  gives  her  a  sleeping  draught,  assuring  her  that  it  will 
not  harm  her  mother,  but  merely  cause  her  to  sleep  soundly. 
The  four  then  sing  a  fine  quartet,  and  the  scene  suddenly 
changes  to  the  Brocken. 

SCENE  II—  The  Summit  of  the  Brocken 
This  scene  shows  a  wild  spot  in  the  Brocken  moun- 
tains by  moonlight.  The  wind  is  whistling  in  weird  gusts. 
Mefistofele  is  helping  Faust  to  climb  the  jagged  rocks,  from 
which  flames  now  and  then  dart  forth.  Will-o-the-wisps 
flutter  to  and  fro,  and  Faust  welcomes  them,  grateful  for 
the  light  they  give. 

Folletto,  folletto  (Sprites  of  Hades) 

By  de  Tura,  Mansueto,  and  Chorus 

(In  Italian)      87O67      lO-inch,  $2.00 
Mefistofele  echoes  him,  ever  urging  him  to  climb  higher. 

MEFISTOFELE: 

Come  up  higher,   and  higher,   and  higher, 

Farther  yet   'tis  more  dreary  the   road 

That  will  lead  us  to  Satan's  abode! 
FAUST: 

Ah!   wild-fire,   pallid  light, 

Now  so  dim,  now  so  bright, 

Flash  o'er  us  thy   ray 

To  illumine  our   way, 

Come  flame  wildly  dancing, 

Come   nigher,   and   nigher! 


THE  VISION 


Arriving  at  the  summit,  Mefistofele 
summons  the  infernal  host — demons, 
witches,  -wizards,  goblins,  imps — and 
presides  over  the  satanic  orgies  as  King. 
All  pay  him  homage  and  dance  in  wild- 
est joy  as  he  breaks  into  fragments  a 
glass  globe,  typifying  the  earth,  crying : 
"  On  its  surface  vile  races  dwell,  de- 
graded, toilsome,  quarreling  among 
themselves.  They  laugh  at  me,  but  I 
can  laugh  also!" 

Faust  now  sees  a  vision  of  Margaret, 
on  her  way  to  prison  for  the  murder  of 
her  mother  and  her  babe.  A  red  stain 
on  her  neck  horrifies  him,  but  Mefistofele 
laughs  and  says,  "Turn  away  your 
eyes."  The  act  closes  in  a  riotous  orgy, 
the  demons  whirling  and  dancing  in 
a  mad  revelry.  This  wild  scene  is 
graphically  pictured  in  Kreling's  painting. 

ACT  III 

SCENE — The  Prison  of  Margaret 

The  demented  girl  is  lying  on  a 
straw  bed.  She  rouses  herself  and  sings 
her  sad  ballad,  L  'altra  notte. 

1/altra  notte    (Last  Night  in 
the  Deep  Sea) 

By  Geraldine  Farrar,  Soprano 

(Italian)    88114      12-inch,     $3.OO 


VICTOR    BOOK    OF    THE    OPERA  —  BOITO'S    MEFISTOFELE 


She  raves  of  the  cruel  jailors,  -whom  she  says  threw 
her  babe  into  the  ocean  and  now  accuse  her  of  the  crime. 

MARGARET: 

To  the  sea,   O  night  of  sadness! 

They  my  babe  took  and  in  it  threw  him! 

Now  to  drive  me  on  to  madness, 

They  declare  'twas  I  that  slew  him! 

Cold  the  air  is,   the  dark  cell   narrow, 

And  my  spirit  broken   to-day, 

Like  the  timid  woodland  sparrow, 

Longs  to  fly;  ah,  to  fly  oft,   far,   far  away, 

Father,  pity  me ! 

In  a   deathly  slumber  falling, 

Died  my   mother,   no  aid  could  save   her; 

And  to  crown  the  woe  appalling, 

They  declare  I  poison  gave  her! 

Mefistofele  now  enters,  followed  by  Faust,  who  begs 
the  demon  to  save  Margaret.  The  fiend  reminds  Faust 
that  it  is  his  own  fault,  but  promises  to  try,  and  goes  out. 

Faust  goes  to  Margaret,  -who  does  not  know  him  and 
is  frightened,  thinking  her  jailers  have  come  for  her. 
He  urges  her  to  fly  with  him,  and  they  sing  a  tender 
duet,  Far  Away. 

Lontano,  lontano  (Away  From  All 
Strife) 

By  Ger aldine  Farrar,  Soprano,  and  Edmund 
Clement,  Tenor  (Italian)  88422    12-in.,  $3.OO 


By  Giuseppina  Huguet,  Soprano, 
and  Gennaro  de  Tura,  Tenor 
(In  Italian) 
87O56      10-inch,  $2.OO 

MARGARET  AND  FAUST: 
Away,    far   from   strife   and  commotion, 
O'er   waves  of   a   wide-spreading  ocean, 
'.Mid   perfumes   exhaled   by   the   sea, 
'Mid   palm   trees   and   flow'rs   in    profusion, 
The  portal   of  peace  and  seclusion, 
The  blue  isle  seems  waiting  for  me. 
There,   skies   in   their   beauty   transcendent, 
Seem   girt   with  a    rainbow    resplendent, 
Reflecting   the   sun's   loving   smile. 
The  flight  of  all   hearts  that  are  loving, 
And   hopeful   and   moving  and   roving, 
Is  turned   towards   that   life-giving   island. 
Away  to  that  island  far  distant! 

The  return  of  Mefistofele  drives 
Margaret  into  a  frenzy,  and  she  refuses 
to  leave  the  prison,  finally  falling  into 
Faust's  arms  in  her  death  agony.  Her 
senses  returning  for  a  brief  period,  she 
forgives  him  and  dies,  while  a  chorus 
of  celestial  beings  announce  that  her 
soul  is  saved.  Faust  and  Mefistofele  dis- 
appear just  as  the  headsman  and  jailers 
come  to  conduct  Margaret  to  execution. 

ACT  IV 

The  Night  of  the  Classical  Sabbath 

We  are  now  transported  to  distant 
Greece,  -where  Mefistofele  has  resurrected 


MARGARET    GOING    TO    EXECUTION 


VICTOR    BOOK    OF     THE    OPE  RA— BOITO  'S    MEFISTOFELE 

the  beautiful  Helen  of  Troy  for  the  further  temptation  of  Faust.  The  scene  shows  an  en- 
chanting spot  on  the  banks  of  the  Peneus,  with  the  moon  shedding  a  golden  light  upon 
Helen,  Pantalis  and  groups  of  Sirens.  Helen  begins  her  enchanting  ode  to  the  moon,  fol- 
lowed by  the  trio. 

Scena  del  la  Grecia — La  luna  immobile     (Moon  Immovable  !) 

By  N.  Ardoni,  Soprano;  Lavin  de   Casas,  Mezzo-Soprano ;  Gaetano 

Pini-Corsi,  Tenor  (In  Italian)      87O68      lO-inch,  $2.OO 

Faust  and  Mefistofele  enter  and  the  former  soon  forgets  all   else   in  the  love  of  the  fair 

Grecian.     Mefistofele,  however,  feels  out  of  place  in  this  classic  neighborhood,  and  leaving 

Faust  in  the  arms  of    Helen,    returns  to  the    Brocken,   where    he  amuses   himself  with   his 

Satanic  crew. 

EPILOGUE 

SCENE— Faust's  Studio 

Faust  has  returned  to  his  studio,  again  old  and  feeble  and  full  of  remorse  for  his  past  life. 
He  has  tasted  the  pleasures  of  earth  and  found  them  empty.     He  sings  his  famous  epilogue  : 

Giunto  sul  passo  (Nearing  the  End  of  Life) 

By  Alberto  Amadi    (Double-faced)  (In  Italian) 


63313     10-inch,  $O.75 


FAUST: 

Nearing  the  utmost  limit  of  life's  extremest  goal, 
In  a  vision  delightful  did  wander  forth  my  soul. 
King  of  some  placid  region,  unknown  to  care  and  striving, 
I  found  a  faithful  people  and  fain  would  aid  their  living. 
Ah!  would  then  that  this  fair  vision  could  but  be  my  last  dream! 
Look  you — the  crowds  now  come  within  my  observation ! 
Lo,  the  crowds  turn  t'wards  cities,  Heav'nward  turn  the  nation! 
Holy   songs  now   I   hear. 

Now  I  bathe  in  the  radiant  splendor  of  Heaven's  glorious  morning! 
Ideal  bliss  upon  my  soul  is  already  dawning! 

Mefistofele  enters  for  his  final  triumph,  but  Faust  turns  to  the  Bible  and  seeks  salvation. 
Mefistofele,  in  desperation,  summons  the  Sirens  to  his  aid,  but  Faust,  leaning  on  the  sacred 
book,  prays  for  forgiveness,  and  the  defeated  Mefistofele  sinks  into  the  ground.  A  shower 
of  roses,  a  token  of  Faust's  salvation,  falls  on  the  dying  man  as  the  curtain  descends. 


(German)  (English) 

DIE  MEISTERSINGER         THE  MASTERSINGERS 

(Dee  MI/ -ster-singer) 

OPERA   IN  THREE  ACTS 

Both  text  and  music  of  Die  Meislersinger  von  Niirnberg  are  by  Wagner.  The  idea 
of  the  opera  was  suggested  to  the  composer  in  boyhood,  as  was  Tannhauser,  by  the  reading 
of  one  of  Hoffmann's  novels,  and  was  planned  as  a  kind  of  burlesque  of  the  Minnesinger  con- 
test in  Tannhauser.  First  production  in  Munich,  June  21,  1868. 

The  first  performance  in  England  took  place  under  Richter,  at  Drury  Lane,  May  30, 
1882;  an  Italian  version  was  given  at  Covent  Garden,.  July  13,  1889,  and  an  English  produc- 
tion by  the  Carl  Rosa  Company  at  Manchester,  April  16,  1896. 

In  1888  it  was  given  for  the  first  time  at  Bayreuth;  and  the  first  American  production 
took  place  in  New  York,  January  4,  1886. 


iKcil'tafingcr  mm  llfunki fl. 


Master-Singers. 


LJj 


Characters 

HANS  SACHS,  cobbler,  1 

POGNER,  goldsmith, 
VOGELGESANG,  furrier, 
NACHTIGAL,  buckle  maker, 

BECKMESSER,  town  clerk, 

KOTHNER,  baker, 
ZORN,  pewterer, 
EISSLJNGER,  grocer, 
MOSER,  tailor, 
ORTEL,  soap  boiler, 
SCHWARZ,  stocking  weaver, 
FOLZ,  coppersmith, 

SIR  WALTER  VON  STOLZING,  a  young  Fran- 

conian   knight 

DAVID,  apprentice  to  Hans  Sachs 
EVA,  Pogner's  daughter 
MAGDALENA,  Eva's  nurse 
WATCHMAN 


Bass 
Bass 

Tenor 

Bass 

Bass 

Bass 

Tenor 

Tenor 

Tenor 

Bass 

Bass 

Bass 

.  Tenor 
.  Tenor 
. Soprano 
. Soprano 


Burghers  of  all  Guilds,  Journeymen,  Apprentices,  Girls  and  People. 


Scene :  Nuremberg  in  the  middle  of  the  sixteenth  century. 


To  the  opera-going  public  in  general  Meistersinger  is  the  most 
entertaining  of  all  the  Wagner  operas.  Its  gaiety  and  tunefulness  are 
charming,  and  its  story  easily  understood  by  an  audience,  which 
cannot  be  said  of  most  of  the  works  by  the  master. 

The  humor  is  essentially  German, — an  intermingling  of  play- 
fulness, satire,  practical  jokes,  and  underneath  all  something  of 
seriousness  and  even  sadness,  while  the  romantic  element,  provided 
by  the  lovers,  Eva  and  Walter,  is  not  lacking. 

The  opera  is  a  satire  on  the  musical  methods  of  the  days  of 
the  Reformation,  the  mediaeval  burgher's  life  in  Nuremberg  being 
pictured  with  a  master  hand.  The  loves  of  Walter  and  Eva ;  the 
noble  philosophy  of  Sachs,  the  cobbler-poet;  the  envy  of  the  ridicu- 
lous Becfamesser ;  and  the  youthful  frolics  of  David — all  are  surrounded 
by  some  of  the  most  glorious  music  imaginable. 

The  first  act  opens  in  St.  Catherine's  Church  at  Nuremberg, 
•where  Eva,  daughter  of  the  wealthy  goldsmith  Pogner,  and  Walter,  a 

273 


VICTOR    BOOK    OF    THE    OPERA  — THE    M  A  S  T  E  R  S  I  N  G  E  RS 


young  knight,  meet  and  fall  in  love.     When  Waller  learns  that  Eva 's  hand  has  been  promised 
by   her  father  to  the    winner   of  the    song    contest,  he   resolves  to   compete,  and    remains 

for  the  examination  before 
the  meeting  of  Master- 
singers.  Becfcmesser,  who  also 
wishes  to  marry  Eva,  is  chosen 
marker,  and  under  the  rigid 
rules  of  the  order  gives  Walter 
so  many  bad  marks  that  he  is 
rejected  in  spite  of  the  influ- 
ence of  Hans  Sachs  in  his 
favor. 

Act  II  shows  a  street,  with 
the  houses  of  Hans  Sachs  and 
Pogner  on  opposite  sides.  The 
apprentices,  who  are  putting 
up  the  shutters,  plague  David 
on  his  affection  for  Magdalena, 
Eva 's  nurse.  Sachs  drives 
them  away  and  sends  Davia 
to  bed,  then  sits  down  in  his 
doorway  and  soliloquizes. 
WALTER'S  TRIAL — ACT  i  He  cannot  forget  the  song 

which  Walter  delivered  before  the  Mastersingers, — its  beauty  haunts  him. 

SACHS: 

The   elder's   scent   is   waxing 

So  mild,  so  full   and  strong! 

Its  charm  my  limbs  relaxing: 

Words   unto   my   lips   would   throng. 

But  I'd  better  stick  to  my  leather 

And  let  all  this  poetry  be! 

(He  tries  again  to  work.) 

And   yet — it   haunts   me   still. 

I   feel,   but  comprehend  ill; 

Cannot   forget   it, — and   yet   cannot   grasp   it; 

I  measure  it  not,  e'en  when  I   clasp  it. 

It  seemed  so  old,  yet  new  in  its  chime, — 

Like   songs   of   birds  in   sweet   May-time: — 

Spring's   command 

And  gentle  hand 

His  soul  with  this  did  entrust: 

He  sang  because  he  must! 

Eva  now  learns  of  Walters  rejection,  and  is  so  indignant 

that  she  promises  to  elope  with  him.      The  lovers  are  inter- 
rupted and  forced  to  hide  by  Becfynesser,  who  comes  beneath 

Eva's    window    for  the  double  purpose  of  serenading  her 

and  rehearsing  the  song  he  js  to  sing  for  the  prize  on  the 

morrow.     Hans  Sachs,  hearing  the  tinkling  of  the  lute,  peeps 

out,  and  just  as  Becfcrnesser  begins  to  sing  Sachs  breaks  out 

into  a  jolly  folk  song.  E"T    DAVID  AND  HANS  SACHS 

SACHS:  When  mother  Eve  from  Paradise 

Tooral   looral!  Was  by   the   Almighty   driven, 

Tiddy   fol   de   rol!  Her  naked   feet  so  small   and   nice. 

Oho!   Tralala!   Oho!  By  stones  were   sorely   riven! 

Beclfmesser  is  greatly  annoyed  and  says  Sachs  must  be  drunk.     After  a  long  altercation  with 
the  cobbler,  Beckrnesser  finally  starts  his  song,  but  as  Sachs  continues  to  hammer  on  his  shoe  at 
each  mistake  or  wrong  accent,  Bectynesser  gets  badly  mixed,  and  delivers  himself  of  this  doggerel : 
BECKMESSER:  'Tis  because  a  damsel 

I   see  the  dawning  daylight,  By  her  loved  father, 

With  great  pleasure  I  do;  At  his  wish  rather, 

For  now  my  heart  takes  a  right  To  be  wed  doth  go  in. 

Courage  both  fresh  and  new.  The   bold  man   who 

I   do   not   think   of   dying,  Would  come  and  view, 

Rather   of   trying  May   see   the   maiden   there   so  true, 

A  young  maiden  to  win.  On  whom  my  hopes  I  firmly  glue, 

Oh,  wherefore  doth  the  weather  There/ore  is  the  sky  so  bright  blue, 

Then  to-day  so  excel  ?  As  I  s; 

I  to  all  say  together 

274 


said  to  begin. 


VICTOR    BOOK    OF    THE    OPERA— THE    M  AS  TE  RS  I  N  G  E  RS 

The  neighbors  now  begin  to  put  their  heads  out  the 
•windows  and  inquire  who  is  bawling  there  so  late.  Magdalena 
opens  Eva's  window  and  signals  to  Bec^messer  to  go  away ; 
but  David,  thinking  she  is  waving  her  hand  at  the  marker, 
becomes  jealous  and  attacks  Beckmesser.  The  noise  brings 
everyone  into  the  street,  and  the  curtain  falls  on  something 
resembling  a  riot. 

Act  III  opens  in  Sachs'  workshop.  Walter,  who  had 
spent  the  night  with  Sachs,  comes  in  and  tells  the  cobbler 
of  a  wonderful  melody  •which  had  come  to  him  in  a  dream. 
They  write  it  down  and  leave  it  on  the  table.  Walter  goes  out 
and  Becrynesser  enters,  sees  the  song,  and  questions  Sachs  about 
it.  Sachs  makes  him  believe  it  is  his  own  and  offers  to  give 
it  to  him,  having  conceived  a  plan  to  force  the  Mastersingers 
to  consent  to  the  appearance  of  Walter.  Beclfmesser  is 
overjoyed  and  runs  out  to  learn  the  song.  Eoa  enters  to 
get  a  shoe  fitted,  and  then  occurs  the  great  scene  in  which 
the  famous  quintet  is  sung.  The  young  girl,  •who  has  just 
had  fully  revealed  to  her  the  noble  character  of  Hans  Sachs, 
turns  to  the  good  shoemaker,  and  with  a  grateful  heart  sings — 

EVA: 

Through  thee  life's  treasure 

I  control, 

Through   thee  I   measure 

First   my   soul. 

And    were   my   choice   but    free, 

'Tis  you  would  please  my  eyes; 

My   husband  you   should  be. 

None   else   should    win    the   prize! 

Sachs  then  alludes  to  the  fate  of  King  Mark  in  Tristan,  who  married  Isolde  only  to  find 
too    late   that   she   loved    another,  and  says : 

SACHS: 

To  find  the  man  before  too  late 

I   sought,  or  else  that  had  been  my  fate! 


8ECKMESSER  S    SEREN 


VICTOR    BOOK     OF    THE     OPERA  — THE    M  AST  E  RS  I  N  G  E  RS 


He  calls  in  Magdalena  and  David,  who  are  dressed  for  the  festival,  and  tells  them  he 
wishes  them  for  witnesses  for  a  christening.  All  look  amazed,  and  Sachs  explains  that  he 
wishes  to  christen  Sir  Walter's  Master  Song.  As  no  apprentice  can  be  a  witness,  Sachs  sur- 
prises David  by  creating  him  a  journeyman.  Eva  then  commences  the  Quintette  of  Baptism 
with  a  short  solo,  beginning: 


UPOHT   GADSKI   AS    EVA 


In  the  rapture  of  her  new-found  love  she  sings  of 
the  Prize  Song: 

EVA* 

In  this  sweet  and  holy  strain 

Lies  a  secret  hidden ; 
Stilling  all   the   welcome  pain 

That  fills   my   heart   unbidden; 
MAGDALENA  AND  DAVID   (bewildered)  : 

Am   I  awake   or  dreaming  still  ? 
WALTER   (tenderly  to  Eva) : 
Is  it  still  the  morning  dream? 
Dare   I   try  to  rede   its  theme  ? 
But   this   strain,    tho'   whispered   here, 
Will  greet  thine  ear  loud   and   clear, 
'Mid  the  Master's  guild  shall  rise, 
There  to  win  the  highest  prize! 
HANS   SACHS   (with  deep  emotion): 
To  the   maid   I   fain    would   sing 

Of  my  secret  hidden ; 
But  to  tell  my  heart's  sweet  pain 
Now  it  is  forbidden ! 


SCENE  II— A  Field  on  the  Shores  of  the  River  Pegnitz 
The  scene  suddenly  changes  to  an  open  meadow  on  the 
banks  of  the  Pegnitz,  where  the  contest  is  to  be  held.  The 
spectacle  is  a  brilliant  one,  with  gaily  decorated  boats  dis- 
charging the  various  Guilds,  with  the  wives  and  families  of  the 
members.  It  is  in  this  scene  that  the  famous  March  of  the 
Guilds  is  played.  A  fine  rendition  of  this  number  has  been 
given  by  Sousa's  Band. 

March  of  the  Guilds 

By  Sousa's  Band  35044     12-inch,  $1.25 

The  Mastersingers  now 
arrange  their  procession  and 
march  to  take  their  places  on 
the  platform. 

When  all  are  assembled, 
Sachs  rises,  and  in  a  noble 
address  states  the  terms  of 
the  contest. 


HOMER     AS     MAGDALENA 


A   Master,  noble,   rich  and  wise, 
Will   prove  you  this   with  pleasure: 
His  only  child,   the  highest  prize 
With   all   his  wealth   and  treasure, 
lie  offers  as  inducement  strong 
To  him  who  in  the  art  of  song 
Before  the  people  here 
As  victor    ?hall    appear. 
This  crown's  of  worth  infinite, 
And  ne'er  in   recent  days  or  olden, 
By  any  hand  so  highly  "holden, 
As  by  this  maiden  tender: 
Good  fortune  may  it  lend  her! 

among    all    present.     Sachs 


As  by  this  maiden  tender: 
od  fortune  may  it  lend  her! 
reat    stir    among    all    present.     Sachs    goes 
up  to  Pogner,  who  presses  his  hand,  deeply 


(Great 
up  t 
moved.) 


276 


VICTOR    BOOK    OF    THE    OPERA  — THE    M  ASTE  RS  I  N  G  E  RS 


GORITZ     AS     BECKMESSER 


Beckmesser,  who  is  in  an  awful  state  with  his  efforts  to  commit 
Walter's  song  to  memory,  wipes  his  heated  brow  and  begins.  He 
confuses  his  old  melody  with  the  new  one,  loses  his  place,  mixes 
his  lines,  and  is  forced  by  the  laughter  of  the  people  to  stop. 
In  a  towering  rage  he  accuses  Sachs  of  plotting  his  defeat,  then 
flings  down  the  song  and  rushes  off.  Sachs  calmly  picks  up  the 
scroll  and  remarks  that  the  song  is  a  very  fine  one,  but  that  it 
must  be  rendered  properly.  The  Mastersingers  accuse  him  of 
joking,  but  he  declares: 

SACHS:     I  tell  you,  sirs,  the  work  is  fine; 
But  it  is  easy  to  divine 
That    Beckmesser   has   sung   it   wrong. 
I  swear,  though,  you  will  like  the  song 
When    someone   rehearses 
The   rightful   tune  and  verses. 
And  he  who  does  will   thus  make  known 

That   he  composed  them,  clearly; 
A  Master's  name,  too,  he  should  own 

Were  he  but  judged  sincerely. 
I   am  accused  and  must  defend: 
A  witness  let  me  bid  attend! 
Is  there  one  here  who  knows  I'm  right, 
Let   him   appear  before   our   sight. 
(Walter  advances   amid  a  general  stir.) 
THE   MASTERS:    Ah,  Sachs!     You're  very  sly  indeed! — 

But  you   may   for   this   once   proceed. 
SACHS:    It   shows   our   rules  are   of   excellence   rare 

If   now   and  then   exceptions   they'll   bear. 
PEOPLE:  A  noble  witness,  proud  and  bold! 

Methinks  he  should  some  good  unfold. 
SACHS:     Masters  and  people  all   agree 
To   give   my   witness   liberty. 
Sir   Walter   von    Stplzing,    sing   the   song! 
You,    Masters,   see  if  he   goes   wrong. 

The  Mastersingers   agree  that  Walter  may  attempt  the  air,  and  he  mounts  the  platform 
and  sings  the  noble  Prize  Song. 

Preislied   (Prize  Song) 

By  Evan  Williams  (In  English)      74115 

By  Mischa  Elman,  Violinist  74186 

By  Lambert  Murphy,  Tenor  (In  German)      7OO8O 

By  Sousa's  Band  (Double-faced,  see  page  246)  *35O44 

By  Victor  Sorlin,  'Cellist       (Double-faced,  see  page  246)  *35  111 

WALTER  (who  has  ascended  to  the  platform  with 
firm  and  proud  steps): 
Morning  was  gleaming  with  roseate  light, 

The   air    was   filled 

With    scent    distilled 

Where,   beauty-beaming, 

Past  all  dreaming, 
A  garden  did  invite. 
(The  Masters  here,  absorbed,  let  fall  the 

scroll     they     are     watching     to     prove     that 

Walter  knows  the  song;  he  notices  it  with- 

a  freer  style.) 

Wherein,  beneath  a  wondrous  tree 
With  fruit  superbly  laden, 
In  blissful   love-dream   I  could  see 
The   rare  and  tender   maiden. 
Whose  charms  beyond  all  price, 
Entranced   my    heart — 
Eva,  in  Paradise! 

THE  PEOPLE   (softly  to  one  another)  : 

That   is  quite   different!     Who   would  surmise 
That  so  much  in  performance  lies? 

WALTER  : 

Evening   fell   and   night   closed   around; 


12-inch,  $1.5O 
12-inch,  1.5O 
12-inch, 
12-inch, 
12-inch, 


By    rugged    way 
My  feet  did  stray 
Towards  a  mountain, 


<S    SACHS    AND    E 


277 


VICTOR    BOOK    OF    THE    OPERA  — THE     M  AST  E  RS  I  N  G  E  RS 


Where  a  fountain 
Enslaved  me  with  its  sound; 
And  there  beneath  a  laurel  tree, 
With   starlight  glinting   under, 
In  waking  vision  greeted  me 
A  sweet  and  solemn  wonder; 
She  dropped  on  me  the   fountain's  dews, 
That  woman   fair — 
Parnassus's  glorious   Muse. 
(With  great  exaltation): 
Thrice  happy  day, 

To  which  my  poet's  trance  gave  place! 
That   Paradise   of   which    I    dreamed, 
In  radiance  before  my  face 

Glorified  lay. 
To   point   the   path   the   brooklet   streamed: 


She  stood  beside  me, 
Who   shall   my   bride   be, 
The  fairest  sight  earth  ever  gave, 
My   Muse,  to  whom  I  bow, 
So   angel — sweet  and   grave. 
I  woo  her  boldly  now, 
Before   the    world   remaining, 
By  might  of  music   paining 
Parnassus  and  Paradise. 

PEOPLE    (accompanying    the    close,    very    softly): 
I  feel  as  in  a  lovely  dream, 
Hearing   but   grasping   not   the   theme! 

Give   him   the   prize! 
MASTERS: 

Yes,   glorious   singer!      Victor,    rise! 
Your  song  has  won  the   Master-prize! 


Several  vocal  and  instrumental  renditions  of  this  lovely  song  are  given.  Mr.  Murphy 
gives  a  splendid  rendition  in  German,  Mr.  Williams  sings  it  beautifully  in  the  purest  of 
English,  while  the  instrumental  performances  by  Sousa  and  Sorlin  are  most  pleasing. 
Elman  gives  the  arrangement  by  Wilhelmj  of  the  Preislied,  which  has  often  been  given 
in  America,  and  plays  it  -with  a  marvelous  softness  and  purity  of  tone  which  -will  delight 
every  listener. 

Eva,  who  has  listened  with  rapt  attention,  now  advances  to  the  edge  of  the  platform 
and  places  on  the  head  of  Walter,  who  kneels  on  the  steps,  a  wreath  of  myrtle  and  laurel, 
then  leads  him  to  her  father,  before  whom  they  both  kneel.  Pogner  extends  his  hands  in 
benediction  over  them. 

Walter  and  Eva  lean  against  Sachs,  one  on  each  side,  while  Pogner  sinks  on  his  knee  before 
him  as  if  in  homage.  The  Mastersingers  point  to  Sachs,  with  outstretched  hands,  as  to  their 
chief,  while  the  "prentices  clap  hands  and  shout  and  the  people  wave  hats  and  kerchiefs  in 
enthusiasm. 


DOUBLE-FACED  MEISTERSINGER  RECORDS 


/Prize  Song 

\Meistersinger  March 

(Prize  Song 

\     Ernani  Selection 

(Prelude 

I     Magic  Flute  Overture 


By  Sousa's  Band\o-n  ,  , 

By  Sousa's  Band/35044 

By  Victor  Sorlin,  'Cellist) 

By  Pryor's 


.     t.    *,  - 
'inch'  $1' 


.  ,,  .     ,        .  _, 
12'inch'     l-25 


By  La  Scala  Orchestral  i2-inch.     1.25 

By  La  Scala  Orchestra} 


(French) 


MIGNON 


(English) 

MIGNON 


(Meen-uohn')  (Mirf-yon) 

OPERA  IN  THREE  ACTS 

Text  by  Barbier  and  Carre,  based  upon  Goethe's  Wilhelm  Meister.  Music  by  Ambroise 
Thomas.  First  production  at  the  Opera  Comique,  Paris,  in  1866.  In  London  at  Drury  Lane, 
1870.  First  New  York  production  November  22,  1872,  with  Nilsson,  Duval  and  Capoul. 


Characters  of  the  Drama 

MIGNON,  a  young  girl  stolen  by  gypsies 

FILINA,  (FiUee'.nah)  an  actress 

FREDERICK,  a  young  nobleman 

WILHELM  MEISTER,  a  student 

LAERTES,  (Laur'-teez)  an  actor 

LOTHARIO,  ( Low-thah' -nx-oh)  an  Italian  nobleman 

GIARNO,  (Jahr'-no)   a  gypsy. 


.  Mezzo-Soprano 
Soprano 

Contralto 

Tenor 

Tenor 

.  Basso  Cantante 
..Bass 


Townsfolk,  Peasants,  Gypsies,  Actors  and  Actresses. 
The  scene  of  Acts  I  and  II  is  laid  in  Germany  ;  of  Act  III  in  Italy. 

Overture 

Part  I  and  Part  II  By  La  Scala  Orchestra  *68O25 

By  Pryor's  Band  31336 

The  overture  is  full  of  the  grace  and  delicacy  for 

which  Thomas'  music  is  celebrated,  and  contains  the 

principal  themes,  notably  Filina  's  dashing  "  Polonaise." 

The  Pryor  record  is  a  fine  example  of  the  perfection  at- 
tained in  the  playing  of  this  organization.  Every  detail 

of  the  wonderful  instrumentation  which  Thomas  has 

written,  and  especially  the  passages  for  the  wood-wind, 

is  clearly  brought  out.     A  fine  orchestral  rendition  by 

the  La  Scala  players,  in  two  parts,  is  also  offered. 

ACT  I 

SCENE — Courtyard  of  a  German  Inn 

Mignon,  a  daughter  of  noble  parents,  was  stolen 
•when  a  child  by  gypsies,  and  as  the  act  opens  is  a 
girl  of  seventeen,  forced  to  dance  in  the  public  streets 
by  the  brutal  Giarno,  chief  of  the  gypsy  band. 

The  first  scene  shows  the  courtyard  of  a  German 
inn,  where  townspeople  and  travelers  are  drinking. 
After  the  vigorous  opening  chorus,  sung  here  by  the 
La  Scala  forces,  Lothario,  a  wandering  minstrel,  enters 
and  sings,  accompanying  himself  on  his  harp. 

Opening  Chorus  and  Solo,  "  Fuggitivo 
e  tremante"  (A  Lonely  Wanderer) 

By  Perello  de  Segurola,  Bass, 
and  La  Scala  Chorus 

(In  Italian)     *55OO4      12-inch,     >1.5O 

Fuggitivo  e  tremante  (A  Lonely  "Wanderer) 

By  Cesare  Preve.  Bass  (In  Italian)      "6265O      10-inch,     $O.75 

The  minstrel  is  in  reality  Mignon 's  father,  whose   mind  was  affected  by  his  daughter's 
abduction,  and  he  wanders  about  seeking  her. 

LOTHARIO:    A   lonely   wanderer   am    I!      I   stray   from   door  to   door. 

As    fate    doth    guide,     or    as    the    storm    doth   hurry    me. 
Far,   far  I'll   roam  in  search  of  her! 

*  Double-Face  j  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  MIGNON  RECORDS,  page  285. 

279 


VICTOR    BOOK    OF    THE    OPER  A— T  HOMAS'    MIGNON 

The  gypsy  band  appears  and  Mignon  is  ordered  to  dance  by  Giarno,  who  threatens  her 
with  his  stick  when  she  wearily  refuses.  Wilhelm,  a  young  student,  protects  her  from  the 
gypsy  and  questions  her  about  her  parents.  She  remembers  but  little,  but  tells  him  of  her 
impression  of  home  in  this  lovely  Connais-lu  le  pays,  full  of  tender  beauty. 

^French)  (English) 

Connais-tu  le  pays  ?     (Knowest  Thou  the  Land  ?) 

(German)  (Italian) 

Kennst  du  das  Land  ?    Non  conosci  il  bel  suol  ? 

By  Marcella  Sembrich,  Soprano  (In  French)     88098     12-inch,     I3.OO 

By  Ernestine  Schumann-Heink,  Contralto     (InGerman)     88O9O     12-inch,       3.OO 
By  Geraldine  Farrar,  Soprano  (In  French)     88211      12-inch,       3.OO 

By  Emmy  Destinn,  Soprano  (In  German)     91O83      lO-inch,       2.OO 

By  Giuseppina  Huguet,  Soprano  (In  Italian)  *35178     12-inch,       1.25 

Five  records  of  this  beautiful  air,  in  French,  German  and  Italian,  by  five  famous  singers, 

ranging  in  price  from  $1.25  to  $3.00,  are  listed  here  for  a  choice. 

This  air  is  one  of  the  happiest  inspirations  of  the  composer.     It  is  said  that  much  of  its 

charm  comes  from  Thomas'  intimate  study  of  Scheffer's  painting,  "  Mignon."  At  any  rate  he  has 

caught  the  inner 

sense  of  Goethe's  ££"*»  tf  =  120-> 

poem    and    has       ~  ' 

expressed    it     in 

exquisite     tones. 

The     opening 

passage : 

gives  us  an  idea  of  the  melody,  one  of  the  most  beautiful  in  the  entire  range  of  opera.  The  pas- 
sionate     longing 


Con     - 

nais  •  tu 

le       -      pa  -  ys 

oft     fleu     rit 

I'o  -  ran      ger?  ... 

Know 

-   est     thott. 

yo#     -    der   land 

where  the     or 

-      atft   grows! 

or  the    orphan        /. 

MIGNON. 

J 

is   effectively  ex- 
pressed   in   this 
superb  climax: 

•  Tis            there 

c'est 
/  .  .        '  Tis 

la 
there.' 

que      je       vou  -  drais 
my    heart1  s  love       q£    • 

•^^••••MBI 

vi       -        vre, 
bey        -      ing 

mf^^mmmm 

in  which  Mignon  seems  to  pour  forth  her  whole  heart  in  a 
flood  of  emotion.     The  words  are  most  beautiful  ones. 


iwest  Thou  the  Land 


Where    so    calm    and    so    soft,  like    Heaven's  blessing  true, 

Spring    eternally    reigns,    with    the    skies    ever  blue? 

Alas,   why  afar  am  I  straying,  why  ever  linger  here? 

'Tis  with  thee  I  would  fly! 

'Tis     there!       'Tis     there!      my     heart's     love  obeying, 

'Twere   bliss  to  live   and  die! 

'Tis   there   my   heart's   love   obeying, 

I'd  live,   I  would  die! 

Wilhelm,  full  of  pity  for  the  helpless  girl,  offers  Giarno 
a  sum  of  money  to  release  her,  and  goes  into  the  inn  to 
complete  the  bargain.  Lothario  comes  to  Mignon  to  bid  her 
farewell,  saying  he  must  go  south,  following  the  swallows. 

Then  occurs  the  beautiful  "Swallow  Duet,"  one  of  the 
gems  of  the  opera. 

Les  hirondelles  (Song  of  the  Swallows) 

By  Geraldine  Farrar,  Soprano ;  Marcel  Journet, 

Bass  (In  French)     89O38      12-inch,     $4.OO  ABQTT  AS  FILINA 

*  Double-FaceJ  Record-  For  title  of  opposite  side  see  DOUBLE-FACED  MIGNON  RECORDS,  page  285. 

281 


VICTOR    BOOK    OF    THE    OPER  A— T  HOMAS'    MIGNON 


MIGNON    AND    LOTHARIO 


MIGNON  :   (accompanying  herself  on  the  harp)  : 
Oh  swallows  gay  and  blithe, 
Ye  joy  of  every  land, 
Unfold  your  gentle   wings, 
Speed  quickly  on  your  way! 

LOTHARIO  : 

The  harp,   touched  by   her  gentle  hand 

A   melancholy    sound    mysteriously    gives   forth. 

MIGNON  : 

Ye   blithe   and   gentle   swallows, 
Unfold   your   nimble    wings; 
Quick,  hasten  to  the  land 
Where   winter   never   reigns. 
Thrice  happy  bird,  thrice  happy  bird, 
Who  first  the  wished-for  good 
Right  joyously   shall   reach. 

The  effectiveness  of  Thomas*  exquisite  score  de- 
pends very  much  on  the  perfection  of  its  rendering; 
and  this  is  especially  true  of  the  first  act  music  —  the 
Connais-tu,  Lothario's  song,  and  this  serene  and  beauti- 
ful duet,  given  so  charmingly  here. 

Very  little  need  be  said  about  Miss  Farrar's 
familiar  impersonation  of  Mignon.  It  is  always  de- 
lightful, both  to  eye  and  ear.  Journet  sings  the  music 
of  Lothario  with  dignity  and  beauty  of  voice  ;  while 
Farrar's  every  note  is  exquisite  in  its  loveliness. 

Wilhelm  is  now  invited  to  go  to  the  Castle  of  Prince 
Tieffenbach  with  the  troupe  of  players,  headed  by  the 
lovely  Filina,  who  has  observed  the  handsome  student 

with  an  appreciative  eye.     He  hesitates,  thinking  of  Mignon,  but  she  begs  to  be  allowed  to 

accompany  him  disguised  as  a  servant. 

MIGNON: 

Stranger!    thou    didst   purchase   me  — 

Dispose   of   me,    henceforth,   e'en   as   thou    wilt. 
WILHELM: 

In  this  very  town,  to  which  Fate  hath  brought 
thee, 

There   lives  an  aged   relative   of  mine, 

Who,    to    her   home,    will    gladly    welcome   thee. 
MIGNON: 

Must  I  then  part  from  thee? 
WILHELM  : 

My  child,  thou  can'st  not  dwell  with  me; 

111  could  I   the  part  perform, 

Of  father! 
MIGNON: 

Could    I    not    disguise   myself, 

And  as  thy  servant,   travel   with  thee? 
WILHELM    (taking   her   hands)  : 

And  what  couldst  thou  do  then? 
MIGNON  : 

With  love   and  gratitude, 

My  heart  is  filled. 

To  follow  thee,   O  master  mine, 

Indeed  were  happiness  to   me! 
WILHELM: 

Would'st    thou    anew    thy    liberty    renounce, 

And  be  a   slave   once  more? 
MIGNON   (sadly)  : 

Well    since  "my   prayers  thou   wilt   not   hear, 

(pointing   to   Lothario,   who   approaches) 

I  11   e'en   depart   with   him  ! 

LOTHARIO     (rushing    to    Mignon,    and    encircling 
her  with   his  arms)  : 

Come!    my   footsteps   follow; 

Through   by-paths   lone   and   wild! 

(Attempts   to   draw  Mignon  with   him.) 


finally  yields  a  reluctant  consent, 
not  knowing  what  else  to  do,  and  the  act 
ends  with  the  departure  of  the  players. 


VICTOR    BOOK    OF    THE    OPER  A—  T  HOMAS'    MIGNON 

ACT  II 

SCENE  I—  A  Boudoir  in  Tieffenbach  Castle 

Act  II  represents  a  room  in  the  Prince's  castle.  Filina  is  seated  in  front  of  her  toilet 
table,  musing  on  the  handsome  Wilhelm,  who  has  made  a  deep  impression  on  her  some- 
what volatile  affections.  Wilhelm  enters  with  Mignon,  who  meets  with  a  cool  reception 
from  the  gay  actress.  Wilhelm  makes  love  to  Filina  while  Mignon  watches  them  with  a 
sad  heart,  as  she  has  learned  to  love  her  new  master.  When  left  alone,  she  tries  by 
the  aid  of  Filina  's  rouge  to  make  her  complexion  as  beautiful  as  that  of  the  actress 
who  has  dazzled  her  master,  and,  noting  the  effect  in  the  glass,  sings  a  gay  song  with 
an  odd  refrain,  called  by  the  composer  "  Styrienne." 

Styrienne,  *'  Je  connais  "     (I  Know  a  Poor  Maiden) 

By  Geraldine  Farrar,  Soprano  (In  French)    88152     12-inch,     $3.00 

Miss  Farrar  has  given  us  a  charming  rendition  of  this  Mignon  air,  which  (next  to  the 
well-known  Connais-lu)  is  the  favorite  one  in  the  opera. 

MIGNON  : 

Well    I  know  a  poor  young  child,  I   fain  would  turn  away, 

A  sad  young  child  of   Bohemia,  But  so  improved  am  seeming, 

On  whose  pale  sunken  cheeks  joy  ne'er  rested,         Am  I  the  same,  or  dreaming? 

Ah!  ah!  ah!  ah!   what  a  dull  story!  Ah!  Ah!   la  la 

I  cannot  leave  the  glass,  Am   I  still   Mignon? 

So  much  improved  I'm  seeming,  No!   no!   'tis  I  no   longer! 


Am 
Ah! 
(Look 
Am 
Ca 


, 

the  same,  or  dreaming?  But  then!   'tis  not  she  either! 

la.  Some   other  secrets  she   must   have   her   charms 

the  glass)  :  to   heighten. 


. 

still    Mignon?  (Opens  the  door  of  the  dressing  room): 

t  be  Mignon  that  I  see?  Is   it   not   there   she   keeps   her   gayest    dresses? 

One  fine  day,  the  child  in  play,  Yes!    alas!    were   I    Filina,    would   he   love    me 

A   stratagem   boldly   trying,  as  well? 

To  the   master's  good   pleasure  applying,  What   'die   folly!  (From  the  nitsoti  score. 

Ah!  ah!   ah!  what  a  foolish  story!  "Tis  a  demon  now  tempts  me!        Coin'tisno.) 

Miss  Farrar  sings  this  quaint  and  fascinating  "Styrienne"  with  the  child-like  gaiety  and 
charm  which  belong  to  it  ;  and  her  voice  is  as  pure  and  true  as  a  flute  when  she  reaches 
the  high  D  at  the  end  of  the  air. 

Mignon  now  goes  into  the  closet,  and  after  Wilhelm  has  returned  makes  her  appearance 
in  one  of  Filina'  s  dresses.  He  tells  her  in  a  beautiful  air  that  he  must  leave  her. 

Addio,  Mignon     (Farewell,  Mignon) 

By  M.  Regis,  Tenor  (In  French)     *45O23     10-inch,     $1.OO 

By  Emilio  Perea,  Tenor     (Piano  ace.)  (In  Italian)     *6342O      lO-inch,          .75 

Mignon  utters  a  cry  of  grief  and  begins  to  weep,  while  Wilhelm  tenderly  says  : 
WILHELM  : 

Farewell,    Mignon,   take   heart! 

Thy  tears  restrain! 

In    the    bright    years    of    youth    no    grief    doth 

linger  long. 
Weep  not,   Mignon! 
O'er   thee    just    Heaven    will    watch   with    fost'- 

ring  care. 
Oh,    may'st    thou    thy    dear    native    land    once 

more   regain! 
May    fortune    on   thy   fate   henceforth   benignly 

smile! 
It   pains   me   much   to   leave   thee:    my    stricken 

heart 

With  thy  lone  destiny  will   ever  sympathize! 
Farewell,    Mignon,    take   heart! 
Then   dry  thy  tears. 

Mignon  refuses  money  which  he  offers  her,  and  is  about  to  bid  him  farewell  when 
Filina  enters,  and  seeing  Mignon  in  one  of  her  own  dresses,  eyes  her  with  sarcastic  amuse- 
ment, which  puts  Mignon  into  a  jealous  rage  and  she  rushes  into  the  cabinet,  tears  off  the 
borrowed  finery  and  puts  on  her  gypsy  garments. 

SCENE  II—  The  Gardens  of  the  Castle 

The  scene  changes  to  the  park  of  the  castle.  Mignon,  in  despair,  attempts  to  throw 
herself  into  the  lake,  but  is  prevented  by  Lothario,  who  consoles  her.  In  a  fit  of  jealousy  she 

*  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  MIGNON  RECORDS,  page  285. 

283 


VICTOR    BOOK    OF    THE    OPER  A— T  HOMAS'    MIGNON 

wishes  that  fire  would  consume  the  castle  in  which  Filina  had  won  her  master's  affections. 
Lothario  is  puzzled  by  this  and  goes  off  muttering  to  himself. 

The  actors  and  guests  now  issue  from  the  castle  proclaiming  the  beauty  and  talent  of 
Filina.  In  the  flush  of  her  triumph  she  sings  the  brilliant  Polonese  or  polacca  (French  Polonaise), 
one  of  the  most  difficult  and  showy  of  all  soprano  airs. 

Polonese,  "  lo  son  Titania"     (Fm  Fair  Titania  !) 

By  Luisa  Tetrazzini,  Soprano  (In  Italian)       88296     12-inch,     $3.OO 

By  Giuseppina  Huguet,  Soprano  (In  Italian)      *35178      12-inch,        1.25 

By  Lucetta  Korsoff,  Soprano  (In  French)     *45O06     lO-inch.       l.OO 

The  Victor  is  able  to  offer  three  fine  renditions  of  this  popular  number,  headed  by  the 

superb  Tetrazzini  record,  one  of  the  most  perfect  in  her  list.     Mile.  Korsoff,  of   the  Opera 

Comique,    sings   the  air  in  French  with  much  brilliancy,  while  an  Italian  record  is  furnished 

by  that  gifted  Spanish  prima  donna,  Mme.  Huguet. 

lo  son  Titania 

(Behold  Titania!) 

CHORUS:  With  jocund  heart  and  happy  mien, 

She   is   truly   divine,    Filina!  I    cheerily    dance    the    hours   away, 

At  her  feet  we  lay  our  hearts  and  our  flowers!  Like  the  bird  that   freely  wings  its  flight. 

What   charms,   what   beauties   are    hers!  Fairies   dance   around   me, 

Ah!    what    success!    Bravo!    Honor    to    Titania!  Elfin    sprites    on    nimble    toe    around    me    gaily 

FILINA:  dance. 

Yes;    for   to-night   I    am    queen    of   the    fairies!  For   I'm   fair  Titania! 

Observe   ye   here,   my   sceptre   bright,  Both  night  and  day.     My  attendants  ever  sing, 

(Raising    the    wand    which    she    holds    in    her  The   achievements    of   the   god    of    Love ! 

hand.)  On   the   wave's  white   foam, 

And   behold   my   num'rous   trophies!  'Mid     the     twilight     grey,     "mid     hedges,     'mid 

(Pointing   to    the   wreath   which    has    been   pre-  flowers, 

sented    to    her.)  I   blithely   do   dance! 

I'm   fair  Titania,   glad   and  gay.  Behold   Titania,   glad  and  gay! 

Thro'  the  world  unfetter'd   I   blithely  stray. 

Wilhelm  now  sees  Mignon  and  is  about  to  speak  to  her  when  Filina  interposes  and  asks 
her  to  go  to  the  castle  on  some  errand.  The  young  girl,  glad  to  escape  meeting  Wilhelm, 
obeys,  but  has  no  sooner  gone  than  the  castle  is  discovered  to  be  in  flames,  the  half-witted 
Lothario  having  set  fire  to  it  after  having  heard  Mignon' s  jealous  wish. 

Wilhelm  rushes  into  the  burning  castle  and  soon  reappears  with  the  unconscious  form 
of  Mignon,  while  the  curtain  falls  on  a  magnificent  tableau. 

ACT  III 

SCENE—  Count  Lothario's  Castle  in  Italy 

This  act  takes  place  in  the  castle  of  Lothario,  to  which  the  old  man  has  instinctively  re- 
turned with  Mignon,  followed  by  Wilhelm,  who  now  realizes  that  he  loves  his  youthful  ward. 
The  young  girl  is  recovering  from  a  dangerous  illness,  and  as  Lothario  watches  outside  her 
sick  room,  he  sings  a  beautiful  lullaby  or  berceuse, 

Berceuse  (Lullaby)      (Ninna  nanna) 

By  Pol  Plancon,  Bass  (In  Italian)      85126      12-inch.     $3.0O 

By  Marcel  Journet,  Bass  (In  Italian)      7427O     12-inch,        1.5O 

By  Gaudio  Mansueto,  Bass  (In  Italian)  *550O4      12-inch,        1.50 

By  Cesare  Preve,  Bass  (In  Italian)  *62650     lO-inch,         .75 

LOTHARIO: 

I've  soothed  the  throbbing  of  her  aching  heart,         By  day  and  nirht  some  heav'nly  spirit 

And   to   her  lips  the   smile   I   have   restored.  The  maiden  doth  protect; 

Her  weary  eyes  at  last  have  closed  On   wings  celestial,   it   doth   hover   round 

In  gentle  slumber;  Protecting  her  from  harm! 

Wilhelm  takes  Lothario's  place  as  watcher,  and  tells  of  his  new-found  affection  in  this 
beautiful  air,  given  here  by  M.  Regis,  of  the  Paris  Opera  Comique. 

Elle  ne  croyait  pas   (Pure  as  a  Flower) 

By  M.  Regis,  Tenor  (In  French)     *45O23     10-inch,     $1.0O 


Doubk-FaceJ  Record—  For  title  of  opposite  side  see  DOUBLE  FACED  MIGNON  RECORDS,  page  285. 

284 


VICTOR    BOOK    OF    THE    OPER  A— T  H  O  M  A  S '    MIGNON 


And  thus  pervert  the  peaceful  current 

Of  her  peaceful  life. 

Oh  balmy  April, 

Who    to    the    wither'd    flowers    restoreth    their 

colors, 

Kiss  her   fair  cheek, 
And  a  grateful  sigh  of  love  cause  to  escape! 


WILHELM: 

In   soothing  yon  poor,   hapless   maiden 

At  last   I   have   discovered  her   secret; 

From   her  sweet  lips  my   name   escaped! 

Ah!   little  thought  the  maid, 

In  innocence  arrayed, 

What   she   in    her   breast  had   nurtured, 

Would  ardent  love  become, 

Mignon  now  comes  with  feeble  step  on  the  balcony,  and  seeing  Wilhelm,  is  much  agi- 
tated. He  endeavors  to  soothe  her,  but  she  insists  that  only  Lothario  loves  her.  Lothario  now 
enters,  and  announces  that  he  is  the  Count  Lothario,  having  been  restored  to  his  right  mind  by 
the  familiar  scenes  of  his  ancestral  home.  He  shows  them  the  jewels  and  prayer  book  of 
his  lost  daughter,  and  tells  them  her  name  was  Sperata.  Mignon  starts  at  the  name  and 
murmurs : 

Ah,  that  sweet  name  to  my  ear  is  familiar, 

A  memory  of  my  childhood 

It  may  be,   that's  gone   forever! 

She  then  begins  to  read  from  the  book  a  little  prayer,  but  soon  drops  the  book  and 
continues  from  memory,  her  hands  clasped  and  her  eyes  raised  to  Heaven.  Lothario  is  much 
agitated  and  when  she  has  finished,  recognizes  her  as  his  lost  daughter.  Father  and 
daughter  are  reunited,  while  a  blessing  is  bestowed  on  the  young  people  by  the  happy 
Lothario. 


DOUBLE-FACED  AND  MISCELLANEOUS  MIGNON  RECORDS 
Gems  from  Mignon 

"Away  Ye    Friends  "—"  Polonaise  "—Barcarolle,  "Now   On   We   Sail"— 
"  Pure  as  a  Flower  " — "  Dost  Thou  Know  " — "  Finale  " 

By  the  Victor  Light  Opera  Co     (In  English)     31867     12-inch,     $1.OO 
Gems  from  Mignon  By  the  Victor  Light  Opera  Co 


"Away  Ye  Friends" — "Polonaise" — Barcarolle,   "  Now 
On    We    Sail"— "Pure    as    a    Flower "—"  Dost    Thou 
Know  " — "  Finale  " 

Gems  from  Tales  of  Hoffman  By  Victor  Light  Opera  Co 

Opening  Chorus  and  Solo,  "  Fuggitivo  e  tremante  " 

By  Andrea  Perello  de  Segurola,  Bass,  and 

La  Scala  Chorus 

Ninna  nanna  By  Gaudio  Mansueto,  Bass 

Preludio,  Parte  2a  (Overture,  Part  2) 

By  La  Scala  Orchestra 
Preludio,  Parte  la  (Overture,  Part  1) 

By  La  Scala  Orchestra 
Polonese — lo  Son  Titania!  (I'm  Fair  Titania!) 

By  Giuseppina  Huguet.  Soprano     (In  Italian) 
Non  conosci  il  bel  suol  ?  (Dost  Thou  Know  That  Fair 

Land?)  By  Giuseppina  Huguet,  Soprano     (In  Italian) 

f  Polonaise — lo  Son  Titania! 

By  Mile.  Korsoff,  Soprano     (In  French) 
I      Lalfme — Pourquoi  Jans  les  grands  bois 

By  Alice  Verlet,  Soprano     (In  French) 

f  Adieu,  Mignon,  Courage  (Farewell,  Mignon  i 
By  M.  Regis,  Tenor      (In  French) 
IElle  ne  croyait  pas  (Pure  as  a  Flower) 
By  M.  Regis,  Tenor     (In  French) 
/Fuggitivo  e  tremante 


35337     12-inch,       1.25 


55004     12-inch,       1.5O 


68025  12-inch,   1.25 


35178  12-inch,   1.25 


45OO6  lO-inch,   1.00 


45023  10-inch,   l.OO 


By  Cesare  Preve,  Bass\,^,e_      .       .     , 
By  Cesare  Preve,  Bass/62650     lo-inch- 


By  Victor  String  Quartet!  .,„__ 
By  Pryor's  BanJ(  16323 


iNinna  nanna 
/Gavotte 

I      Norma  Selection   (Bellini) 
Addio,  Mignon  (Fare-well,  Mignon)  | 

By  Emilio  Perea.  Tenor     (In  Italian)  ^63420      lO-inch, 
Slelle  d'Oro  —  Romanza      By  Silvano  Isalberti,    Tenor     (In  Italian}  \ 

285 


.75 
.75 


THE  MIKADO 

OR 

THE  TOWN   OF  TITIPU 


COMIC  OPERA  IN  TWO  ACTS 

Text  by  W.  S.  Gilbert ;  music  by  Sir  Arthur  Sullivan.  First  produced  at  the  Savoy 
Theatre,  London,  March  14,  1885.  First  American  production  at  the  Union  Square  Theatre, 
New  York,  July  20,  1885.  All  star  revival  by  Messrs.  Shubert  and  William  A.  Brady  at  the 
Casino  Theatre,  May  30,  1910.  Revived  at  the  Majestic  Theatre  by  the  Gilbert  and  Sullivan 
Festival  Company,  1913. 

Characters 

MIKADO  of  Japan Baritone 

NANKI-POO,  his  son,  disguised  as  a  minstrel,  in  love  with  Yum-Yum ....  Tenor 

KO-KO,  Lord  High  Executioner  of  Titipu Comedian 

POOH-BAH,  Lord  High  Everything  Else Bass 

PlSH-TUSH,  a  noble  lord Baritone 

YUM-YUM  1  f  Soprano 

PlTTI-SlNG  [Three  sisters,  wards  of  Ko-Ko Mezzo-Soprano 

PEEP- BO    J  Soprano 

KATSHA,  an  elderly  lady,  in  love  with   Nanki-Poo Contralto 

Schoolgirls,  nobles,  guards  and  coolies. 


Time  and  Place  :    The  scene  is  laid  in  Japan  ;  present  time. 


VICTOR   BOOK   OF   THE   OPERA— THE   MIKADO 


It  is  beginning  to  be  recognized  that  the  Gilbert  and 
Sullivan  operas  are  pure  English  classics  —  not  in  the 
sense  of  being  dull — but  because  they  are  national,  and 
possess  those  qualities  which  will  cause  them  in  the 
future  to  be  valued  equally  with  the  Comedies  of 
Shakespeare.  The  Mikado  is  undoubtedly  the  greatest 
of  these,  and  curiously  enough  it  was  this  opera  which 
first  anticipated  the  rise  of  Modern  Japan,  although  the 
characters  portrayed  are  by  no  means  Japs,  but  ourselves 
GILBERT  — in  a  very  thin  disguise.  SULLIVAN 

This     charming    travesty    of    Japan    has    been    the 

greatest  popular  favorite  of  all  comic  operas  since  its  original  production  in  the  eighties. 
The  story  is  so  generally  known  that  a  brief  outline  of  the  plot  is  all  that  is  necessary  here. 
Nan^i-Poo  is  in  love  with  Yum-Yum,  who  is  betrothed  to  her  guardian,  Ko-Ko,  Lord 
High  Executioner.  Poo-Bah,  "retailer  of  state  secrets  at  a  low  figure,"  tells  Nanlfi-Poo  of  his 
sweetheart's  betrothal  to  another,  but  the  young  man  secures  an  interview  with  Yum-  Yum 
and  confesses  he  is  the  Mikado's  son,  disguised  in  the  hope  of  escaping  punishment  for  his 


refusal  to  marry  Kalisha.  Ko-Ko  receives  a  message  from  the  Mikado,  telling  him  he  must 
see  that  some  one  in  Titipu  is  beheaded  within  the  month  or  he  will  lose  his  position,  which 
message  interferes  with  the  Lord  High  Executioner's  matrimonial  arrangements.  Nanki-Poo 
agrees  to  sacrifice  himself  if  he  may  marry  Yum-Yum  and  have  her  with  him  during  the 
intervening  month.  This  is  agreed  to  and  the  wedding  plans  are  made. 

At  the  opening  of  the  second  act  Yum-  Yum  is  preparing  for  the  ceremony.  While 
talking  with  Nanki-Poo  she  is  interrupted  by  Ko-Ko,  •who  tells  her  that  according  to  the 
law,  when  a  married  man  is  executed  his  wife  is  burned  alive.  This  news  cools  Yum- Yum 's 
ardor,  but  Nanki-Poo,  to  save  her,  swears  that  he  will  that  day  perform  the  Happy  Dis- 
patch or  hari-kari.  As  this  would  be  dangerous  for  Ko-Ko,  he  promises  in  alarm  to 
swear  falsely  to  the  execution  of  Nanki-Poo. 

The  Mikado  now  arrives  and  Ko-Ko  tells  him  the  execution  has  taken  place,  but  the 
Mikado,  on  learning  who  the  victim  is,  flies  into  a  rage  and  says  he  has  beheaded  the  heir 
to  the  throne,  and  must  himself  suffer  torture  for  his  act.  However,  Nanki-Poo  opportunely 
appears  and  Ko-Ko  gains  his  pardon  by  marrying  Katisha,  while  Yum-  Yum  and  Nanki-Poo 
are  happily  united. 

287 


VICTOR   BOOK   OF   THE   OPERA— THE   MIKADO 

Two  splendid  records  by  the  Victor  opera  forces  are  offered,  containing  no  less  than 
thirteen  of  the  favorite  numbers,  admirably  sung  and  grouped  in  a  most  attractive  man- 
ner. The  Lyric  Quartet  has  given  the  dainty  Brightly  Dawns  Our  Wedding  'Day,  one  of 
the  most  beautiful  examples  of  the  Madrigale  in  existence. 


DOUBLE-FACED  AND  MISCELLANEOUS  MIKADO  RECORDS 
Gems  from  **  Mikado  "  —  Part  I 

"  Behold  the  Lord  High  Executioner  "  —  "  The  Flowers  that  Bloom  in  the 
Spring"—  "Three  Little  Maids"—  "Tit  Willow  "—"  He's  Gone  and  Married 
Yum-  Yum  "—  "  With  Joyous  Shout  " 

By  the  Victor  Light  Opera  Company     31789     12-inch,  M.OO 


Gems  from  "Mikado"  —  Part  II 

"  Gentlemen  of  Japan  "  —  "  A  Song  of  the  Sea  "  —  "  Three  Little  Maids  from 
School  "  —  "  Moon  Song  "  —  "Emperor  of  Japan  "  —  "  My  Object  all  Sublime  "— 
Finale 

By  the  Victor  Light  Opera  Company     31881      12-inch,     l.OO 

f  Madrigale—  Brightly  Dawns  Our  "Wedding  Day  I 

By  the  Lyric  Quartet}  17226     10-inch,       .75 
[     Martha—  Good  Night  Quartet  By  the  Lyric  Quartet} 

Mikado  Lancers—  First,  Second  and  Fifth  Figures 

By  the  Victor  Dance  Orchestra     35115      12-inch,     1.25 


/Mikado  Lancers  —  Third  and  Fourth  Figures  l 

\     La  Gitana  Waltz  By  the  Victor  Dance  Orchestra] 


i  /-»   •      u 
•""*• 


/Mikado  Waltzes 

\     Belle  of  New   York  Selection 


By  Pryor's  Band\,,  .  .  .      .  ,,   .     ,        ., 
By  Pryor's  Band)35124      12-mch«      l- 


SCENE    FROM    MIKADO 


SCENE    FROM     MIREILLE 


MIREILLE 

(Mih-rat/-yeh) 


(English) 

MIRELLA 

(Mih-rel'-lah) 


OPERA  IN  FIVE  ACTS 

Words  by  M.  Carre,  from  Mireio,  Provencal  poem  by  Mistral ;  music  by  Gounod. 
Produced  at  the  Theatre  Lyrique,  March  19,  1864.  Reduced  to  three  acts,  with  the  addition 
of  the  waltz,  and  reproduced  December  15,  1864,  at  the  same  theatre.  In  London,  in  Italian 
with  five  acts,  as  Mirella,  at  Her  Majesty's  Theatre,  July  5,  1864. 


Cast 

RAMON,  a  rich   farmer 

MIRELLA,    his   daughter 

AMBROISE 

VINCENT, 

VlNCENETTE, 

TAVENA,  a  fortune-teller 

OURRIAS,  a  bull  tamer 

ANDRELLU,  a  shepherd 

CLEMENCE,  a  peasant  girl 

Peasants  and  People  ;  Pilgrims. 


[•his   children. 


Bass 

Soprano 

Bass 

/  Tenor 

\Mezzo-Soprano 

Contralto 

Baritone 

Contralto 

.  Mezzo-Soprano 


Mirella,  which  came  later  than  Faust  in  order  of  production,  is  an  example  of  the  more 
delicate  art  of  Gounod,  and  the  story  of  the  faithfulness  of  the  heroine  for  her  peasant  lover 
is  reflected  in  the  music  with  true  Provencal  warmth  and  color. 

The  librettist  took  for  his  subject  the  pastoral  poem  Mireio,  by  the  beloved  poet  cf 
Provence,  Frederic  Mistral,  and  Gounod  has  given  it  a  tuneful  setting  with  much  local  color, 
including  many  folk-songs. 

289 


VICTOR    BOOK    OF    THE    O  PER  A— G  O  UN  O  D 'S     MIREILLE 


The  first  scene  opens  in  a 
mulberry  grove,  where  Mirella 
is  teased  by  the  village  girls 
about  her  attachment  for 
Vincent,  the  basket-maker. 
Tavena,  the  fortune-teller, 
warns  the  young  girl  that 
Ramon,  Mirella' s  father,  will 
never  consent  to  the  union. 
Mirella  meets  Vincent  and  the 
warning  of  Tavena  is  soon  for- 
gotten. The  lovers  renew  their 
pledges  and  agree  to  meet  soon 
at  the  Chapel  of  the  Virgin. 

The  young  girl  is  also  in- 
formed by  the  fortune-teller 
that  Vincent  has  a  rival,  a  wild 
herdsman,  who  has  asked 
Mirella' s  father  for  her  hand 
and  obtained  his  consent. 
When  the  herdsman  appears 
Mirella  repulses  him,  declaring  MTREILLE— ACT  i 

her  irrevocable  attachment  for  Vincent.  She  then  starts  on  the  long  journey  across  the  desert 
to  meet  her  lover  at  the  chapel,  and  on  the  way  meets  Tacena,  who  assures  her  that  Vincent 
will  be  waiting  for  her.  The  journey  proves  almost  too  much  for  the  young  girl's  strength, 
and  when  she  finally  arrives  at  the  chapel  she  is  completely  exhausted,  and  faints  on  the 
threshold.  Vincent  soon  appears  and  ministers  to  his  fainting  love.  Ramon,  who  has 
followed  his  daughter,  soon  appears,  and  moved  to  pity  by  her  sad  condition,  gives  his 
consent  to  the  union  of  the  lovers,  and  all  ends  happily. 

This  delightful  Valse  occurs  in  the  first  act,  where  Mirella  fancifully  appeals  to  the 
swallows  to  bring  her  tidings  of  her  lover.  Miss  Abott's  lovely  and  flexible  voice  is  shown 
to  great  advantage  in  this  brilliant  number. 

Valse  from  Act  I 

88129     By  Bessie  Abott,  Soprano  (In  French)      12-inch,  $3.00 


NATOMA 

(Nah-toh'-mah) 

(The  Maid  from  the  Mountains) 
OPERA  IN  THREE  ACTS 

Text  by  Joseph  D.  Redding ;  music  by  Victor  Herbert.  '  First  produced  at  the  Metro- 
politan Opera  House,  Philadelphia,  February  25,  1911.  First  New  York  production  Feb- 
ruary 28,  1911. 

Characters 

(With  the  Cast  of  the  First  Performance) 


DON  FRANCISCO  DE  LA  GUERRA,   a  noble  Spaniard  of  the  old  regime 

Bass    (Huberdeau) 

BARBARA,  his  daughter 

NATOMA,  an  Indian  girl 

PAUL  MERRILL,  Lieutenant  of  the  U.  S.  Brig  "  Liberty 

JUAN  ALVARADO,  a  young  Spaniard 

JOSE  CASTRO,  a  half-breed 

FATHER  PERALTA,  Padre  of  the  Mission  Church .  . 


Chiquita,  a  dar 


.  Soprano  (Grenville) 
.  .  .Soprano  (Garden 
.  Tenor  (McCormack 
Baritone  (Sammarco 
.  .  .  Baritone  (Preisch 
....  Bass  (Duf  ranne 
/Tenor  (Crabb6 
'  '  \  Bass  (Nicolay 
ng  girl ;  Two  American  Officers ;  Nuns  ;  Convent  Girls ; 
Friars ;  Soldiers ;  Spanish  Dancers,  etc.  . 


Scene  and  Period:   California,    under  the  Spanish  regime,    1820. 

Victor  Herbert's  Natoma  treats  of  one  of  the  most  romantic  periods  of  American  his- 
tory, the  scene  being  laid  in  California  in  the  days  of  Spanish  rule.  The  opera  takes  its 
title  from  its  Indian  heroine,  and  the  characters  comprise  Indians,  Spaniards  and  pioneer 
Americans.  The  story  centres  around  Natoma,  an  Indian  girl ;  Barbara,  the  lovely  daughter 
of  Don  Francisco  de  la  Guerra,  a  noble  Spaniard  of  the  old  regime ;  and  Lieut.  Paul  Merrill,  of 
the  U.  S.  Navy,  who  is  loved  by  both  Natoma  and  Barbara. 

ACT  I 

SCENE — Hacienda  of  Don  Francisco  on  the  Island  of  Santa  Cruz 

At  the  opening  of  Act  I  Don  Francisco  is  gazing  over  the  waters  of  the  Santa  Barbara 
channel  waiting  the  coming  of  his  daughter  Barbara,  who  is  leaving  the  convent  at  the  close 
of  her  school  days.  Alvarado,  a  hot-headed  young  Spaniard  and  Barbara's  cousin,  who  is 
anxious  to  marry  the  young  girl  and  thus  gain  control  of  the  vast  estates  left  her  by  her 

201 


VICTOR    BOOK    OF    THE     O  P  E  R  A  — H  E  RB  E  RT  '  S    NATOMA 


mother,  is  also  anxiously  waiting  her  arrival.  Natoma  has  met  Lieutenant  Paul  and  there  is 
already  a  bond  of  sympathy  between  the  handsome  Indian  maiden  and  the  young  officer. 
The  two  are  now  seen  approaching,  the  Indian  girl  innocently  telling  the  young  officer  that 
her  mistress,  Barbara,is  very  beautiful.  Suddenly  realizing  that  Paul  may  forget  her  when 
he  sees  Barbara,  she  begs  him  to  let  her  be  his  slave.  When  Barbara  arrives  and  meets 
Paul  it  is  a  case  of  love  at  first  sight,  and  later,  when  Alvarado  urges  his  suit,  the  young  girl 
haughtily  refuses  him.  In  a  rage  he  plots  with  Castro,  the  half-breed,  to  carry  Barbara  off  to 
the  mountains  the  next  day,  when  the  celebrations  in  honor  of  her  coming  of  age  are 
at  their  height.  This  plot  is  overheard  by  Natoma,  who  is  concealed  in  the  arbor.  All 
the  guests  take  their  departure,  and  Barbara,  alone  on  the  porch  in  the  moonlight,  de- 
clares her  love  for  Paul.  The  young  lieutenant 
appears  and  they  sing  an  impassioned  love  duet. 
When  a  light  is  seen  in  the  hacienda,  the  young 
girl,  thinking  it  is  her  father,  urges  Paul  to  take 
his  departure,  and  goes  into  the  hacienda.  As 
the  curtain  falls  Natoma,  who  realizes  that  her 
mistress  is  now  her  rival,  is  seen  seated  alone  in 
the  window,  gazing  out  into  the  night. 

ACT  II 

SCENE — Plaza  in  Front  of  the  Mission 

Church,  Santa  Barbara 

In  the  dim  light  of  early  morning  Natoma  is 
singing  her  "song  of  fate,"  and  as  dawn  be- 
gins to  break  the  Spanish  soldiers  appear,  the 
flag  of  Spain  is  raised,  and  trumpeters  and  drum- 
mers play  the  national  salute.  The  vaqueros  and 
rancheros  arrive,  singing  of  their  life  on  the  plains, 
while  the  dancing  girls  join  in  the  revelry.  Pico 
sings  his  stirring  Vaquero's  Song,  which  in  per- 
formances of  the  opera  always  arouses  great  en- 
thusiasm, and  which  is  vigorously  sung  here  by 
Mr.  Cartwright,  while  the  melodious  chorus  is 
splendidly  rendered  by  the  Opera  forces. 

Vaquero's  Song 

By  Earl  Cartwright,  Baritone,  and 
Opera  Company   (In  English) 

(Harp  accompaniment  by  Lapitino) 

5871      lO-inch,     $0.6O 

With  a  leap  from  the  ground 
To  the  saddle  in  a  bound, 
And  away!    Aie! 

Copy't  1910,  G.  Scbirmer. 

Don  Francisco  and  his  daughter  appear  on  horseback,  with  Natoma  walking  by  their  side. 
The  guests  assemble,  and  after  the  Castilian  custom,  Don  Francisco  places  on  his  daughter's 
brow  a  woof  of  royal  lace,  signifying  that  she  succeeds  to  title  and  estate.  Barbara  sings  a 
brilliant  song  of  happiness,  love  and  springtime,  with  an  exquisite  accompaniment,  in  which 
Mr.  Herbert  has  woven  the  songs  of  birds,  the  rustling  of  leaves  and  the  breezes  of  spring 
with  marvelous  skill.  Mme.  Gluck  in  this  rendition  quite  surpasses  anything  she  has  yet 
done  for  the  Victor,  and  pours  out  her  vocal  resources  lavishly  and  with  evident  enjoyment. 

Spring  Song  (I  List  the  Trill  of  Golden  Throat) 

By  Alma  Gluck,  Soprano  (In  English)      74274     12-inch,     $1.50 

The  sailors  from  the  U.  S.  S.  Liberty  appear,  and  with  them  is  Lieutenant  Paul,  who  ex- 
tends his  compliments  on  behalf  of  his  commander.  This  address,  one  of  the  most  in- 
spiring numbers  in  the  work,  is  given  by  Mr.  McCormack  in  splendid  style. 

Paul's  Address  (No  Country  Can  My  Own  Outvie) 

By  John  McCormack,  Tenor  (In  English)      74295      12-inch,     $1.5O 

The  Panuelo,  or  "dance  of  declaration,"   follows,  in  which  each  man  places  his  hat  on 


Pico: 

Who  dares  the  broncho  wild  defy? 
Who  looks  the  mustang  in  the  eye? 
Fearless  and  bold, 
Their  master  behold:  Aie! 


VICTOR    BOOK     OF    THE     O  PE  R  A  — H  E  RB  E  RT'S    NATOMA 


THE    DAGGER 


NCE — ACT    II 


the  head  of  the  girl  he  loves.  Barbara  infuriates  Aloarado  by  gaily  tossing  his  hat  into  the 
crowd  when  he  places  it  on  her  head,  but  before  he  can  speak  Castro  appears  and  dares 
any  one  to  dance  with  him  the  ancient  Dagger  Dance  of  California.  Natoma  accepts  the  chal- 
lenge, and  they  dance  to  the  wild  and  barbaric  rhythm.  This  old  dance  is,  like  other 
characteristic  numbers  in  the  opera,  based  on  Indian  melodies  which  Mr.  Herbert  has 
been  collecting  for  some  years,  and  its  performance  for  the  Victor,  which  was  made  under 
the  composer's  direction,  is  a  very  fine  one. 

Dagger  Dance 

By  Victor  Herbert's  Orchestra  70O49     12-irjch,  $1.25 

As  the  scene  becomes  more  absorbing,  Aloarado  and  Pico  slip  close  to  Barbara,  and, 
throwing  a  scrape  over  her  head,  attempt  to  carry  her  off.  Natoma,  who  has  been  watching 
Aharado,  rushes  wildly  past  Castro  and  plunges  her  dagger  into  the  Spaniard,  who  falls  life- 
less. The  crowd  rushes  at  Natoma  to  avenge  the  death  of  Aloarado  and  Paul  draws  his 
sword  to  protect  her.  Suddenly  the  Mission  door  opens,  and  Father  Peralta  slowly 
advances,  holding  aloft  the  cross.  The  people  kneel,  and  the  Indian  girl,  dropping  her  dag- 
ger, approaches  the  priest  and  falls  at  his  feet.  They  go  into  the  church  as  the  curtain  falls. 

ACT  III 

SCENE— Interior  of  the  Mission  Church 

As  the  curtain  rises  Natoma  is  kneeling  on  the  steps  of  the  altar,  crooning  an  Indian 
cradle  song.  She  invokes  the  Great  Spirit  to  give  her  strength  to  join  her  people,  and  seek 
vengeance  for  her  misfortunes.  The  old  priest  seeks  to  calm  her,  and  finally  strikes  the 
one  responsive  chord  in  her  heart — her  love  for  her  mistress.  He  recalls  to  her  mind 
her  happy  childhood  days  with  Barbara,  and  she  realizes  that  she  can  yet  make  her  mis- 
tress happy,  and  that  fate  has  decreed  the  union  between  Natoma  and  Paul. 

The  church  now  fills  with  the  people,  who  respond  to  the  words  of  Father  Peralta. 
Paul  and  Barbara  sit  near  the  altar  in  opposite  pews,  and  at  a  sign  from  the  priest  the  Indian 
girl  walks  down  the  aisle  to  where  they  are  seated.  Under  her  spell  they  kneel,  facing  the 
altar,  and  Natoma,  lifting  the  amulet  she  wears  around  her  neck,  bestows  it  as  a  blessing  on 
her  beloved  mistress.  Turning,  she  walks  toward  the  convent  garden,  and  as  the  priest  in 
the  pulpit  raises  his  hands  in  benediction,  the  doors  of  the  cloister  close  upon  her. 

293 


NORMA 

(Nor'-mah) 

OPERA  IN  TWO  ACTS 

Book  by  Felice  Romani,  founded  on  an  old  French  story.  Score  by  Vincenzo  Bellini. 
First  production  December  26,  1831,  at  Milan.  First  London  production  at  King's  Theatre, 
in  Italian,  June  20,  1833.  In  English  at  Drury  Lane,  June  24.  1837.  First  Paris  production 
Theatre  des  Italienos,  1833.  First  Vienna  production,  1833;  in  Berlin,  1834.  First  New  York 
production  February  25,  1841;  other  early  productions,  September  20,  1843,  with  Corsini  and 
Perozzi,  and  1854  with  Grisi,  Mario  and  Susini. 


Characters 

NORMA,  High  Priestess  of  the  Temple  of  Esus Soprano 

ADALGISA,  a  Virgin  of  the  Temple Soprano 

CLOTILDE,  attendant  on  Norma Soprano 

POLLJONE,  a  Roman  proconsul  commanding  the  legions  of  Gaul Tenor 

FLAVIO,  his  lieutenant Tenor 

OROVESO,  the  Arch-Druid,  father  of  Norma Bass 

Priests  and  Officers  of  the  Temple,  Gallic  Warriors,  Priestesses  and  Virgins 
of  the  Temple,  two  children  of  Norma  and  Pollione 


Scene  and  Period :    The  scene  is  laid  in  Gaul,  shortly  after  the  Roman  conquest. 


Norma,  although  an  opera  of  the  old  school  and  seldom  performed  nowadays,  contains 
some  of  the  loveliest  of  the  writings  of  Bellini.  Its  beauties  are  of  the  old-fashioned  kind 
which  our  forefathers  delighted  in,  and  which  are  an  occasional  welcome  relief  from  the 
abundance  of  "  music  dramas "  with  which  we  are  surrounded  of  late.  Especially  charm- 
ing is  the  spirited  overture,  always  a  favorite  on  band  programs. 

Overture  to  Norma 

By  Arthur  Pryor's  Band  *35166     12-inch,  $1.25 

By  Victor  Band  *35O29     12-inch,     1.25 

The  briskness  and  sparkle  of  this  fine  overture  and  its  inspiring  climax  are  well  pre- 
served in  Mr.  Pryor's  vigorous  rendering,  and  in  the  splendidly  played  Victor  Band  record, 
made  under  Mr.  Rogers'  direction. 

The  scene  is  laid  among  the  Druids  at  the  time  of  the  Roman  invasion.  Norma,  the 
High  Priestess,  though  sworn  to  bring  about  the  expulsion  of  Rome,  is  secretly  married  to 
a  Roman  proconsul,  Pollione,  by  whom  she  has  two  children.  She  rebukes  the  Druids  for 
•wishing  to  declare  •war,  and  after  the  ceremony  of  cutting  the  mistletoe,  she  invokes  peace 
from  the  moon  in  the  exquisite  prayer,  Casta  Diva. 

Casta  Diva  (Queen  of  Heaven) 

By  Marcella  Sembrich,  Soprano  (In  Italian)         88104      12-inch,  $3.00 

By  Celestina  Boninsegna,  Soprano  (In  Italian)         92O25      12-inch,     3.OO 

By  Giuseppina  Huguet,  Soprano  (In  Italian)     *  16539     lO-inch,        .75 

This  lovely  air  still  holds  a  high  place  in  popular  favor,  its  beauty  and  tenderness  mak- 
ing it  well  worthy  of  a  place  among  modern  airs.  As  evidence  of  the  great  popularity  of 
this  number,  three  famous  prima  donnas  have  selected  it  for  their  Victor  lists. 

Queen  of  Heaven,  while  thou  art  reigning  Queen  of  Heaven,  hallow'd  by  thy  presence, 

Love   upon  us  is  still   remaining,  Let  its  holier,  sweeter  essence, 

Clad   in   pureness,   alone   disdaining  Quelling  ev'ry   lawless   license, 

Grosser  earth's   nocturnal   veil.  As  above,  so  here  prevail ! 

In  the  next  scene  Norma  discovers  that  her  husband  loves  Adalgisa,  and  in  her  rage  she 
contemplates  killing  her  children;  but  her  mother's  heart  conquers,  and  she  resolves  to 

*  Double.FaceJ  Record— For  title  of  opposite  side  see  next  page. 

294 


VICTOR    BOOK     OF    THE     O  P  E  R  A  —  B  E  L  L  I  N  I*  S     N  O  R  M  A 


yield  her  husband  and  children  to  Adalgisa  and  expiate  her  offences  on  the  funeral  pyre. 
Adalgisa  pleads  with  her,  urging  her  to  abandon  her  purpose,  and  offers  to  send  Pollione 
back  to  her. 

This  scene  is  expressed  in  the  Hear  Me,  Norma,  familiar  to  every  music-lover. 

Mira  o  Norma    (Hear  Me,  Norma) 

By  Ida  Giacomelli,  Soprano, 
and  Lina  Mileri,  Contralto 

(In  Italian)     *621O1      lO-inch,  $O.75 
By  Arthur  Pryor's  Band     *  16323      lO-inch,        .75 
The    lovely    strains    of     this    melodious     number    have 
delighted  countless  hearers  in  the  eighty  years  since  it  was 
written. 

ADALCISA: 

Dearest    Norma.    before    thee    kneeling, 
View    these    darlings,    thy    precious    treasures; 
Let    that    sunbeam,    a    mother's    feeling, 
Break  the  night  around  thy  soul. 
NORMA: 

Wouldst   win   that   soul,   by   this   entreatirtg 
Back  to  earth's  delusive   pleasures. 
From  the  phantoms,   far  more   fleeting, 
Which  in  death's  deep  ocean  shoal  ? 

Pollione  refuses  to  return  to  Norma  and  attempts  to  seize 
Adalgisa  against  her  will.  Norma  foils  this  attempt  and 
reasons  with  him,  telling  him  he  must  give  up  his  guilty  love 
or  die.  This  is  expressed  in  a  dramatic  duet. 

In  mia  mano     (In  My  Grasp) 

By  Ida  Giacomelli,  Soprano,  and  Gino  Martinez-Patti,  Tenor 

(In  Italian)     *  683O9      12-inch,  $1.25 

Pollione  still  refuses,  and  Norma  strikes  the  sacred  shield  to  summon  the  Druids.  She 
declares  war  on  Rome  and  denounces  Pollione,  but  offers  to  save  his  life  if  he  will  leave  the 
country.  He  refuses,  and  she  is  about  to  put  him  to  death,  when  love  overcomes  justice 
and  the  Priestess  denounces  herself  to  save  Pollione.  Norma's  noble  sacrifice  causes  his  love 
to  return  and  they  ascend  the  funeral  pyre  together.  As  the  flames  mount  about  them 
they  are  declared  purified  of  all  sin. 


DOUBLE-FACED  AND  MISCELLANEOUS  NORMA  RECORDS 

12-inch, 
12-inch, 


By  Arthur  Pryor's  Band!  ,-.,-- 
By  Arthur  Pryor's  Bam//35166 


Victor 


JOverture 

^     Oberon  Overture     (Weber) 
JOverture 
\     Huguenots  Selection 
In  mia  mano  alfin  tu  sei     (In  My  Grasp) 

By  Ida  Giacomelli,  Soprano,  and  Gino  Martinez-Patti, 
Tenor  (In  Italian) 

Favorta — Fia  vero  lasciarti     (Shall  I  Leave  Thee  ?) 

By  Clotilde  Esposito,  Soprano,  and  Gino  Martinez-Patti,  Tenor 

(In  Italian) 

(Norma  Selection     (Hear  Me,  Norma  1)  By  Pryor's  Band)  .,„,,,, 

\      Mignon— Gavotte  By  Victor  String  Quartet!  1O 

Casta  Diva    (Queen  of  Heaven) 


,  -«. 
1-25 

1.25 


683O9     12-inch,     1.25 


10-inch.       .75 


By  Giuseppina  Huguet,  Soprano     (In  Italian) 
Lucia — Regnava  nel  silenzio      (Silence  O'er  All] 

By  Giuseppina  Huguet,  Soprano     (In  Italian) 
Mira  o  Norma     (Hear  Me,  Norma)     By  Ida  Giacomelli, 

Soprano,  and  Lina  Mileri,  Contralto  (In  Italian ) 

Carmen— Preludio,  Act  IV  By  La  Scala  Orchestra 

*  Double-Faced  Record— For  title  of  opposite  side  see  abooe  list. 


16539      lO-inch,        .75 


621O1      lO-inch,        .75 


FAMOUS    OPERA    HOUSES    OF    EUROPE) 


(Italian) 

ORFEO  ED  EURIDICE 

(Or-feh'-oh  ayd  U-y-ree' -dee-cheh} 

ORPHEUS  AND  EURYDICE 

(Or'./ee-us  and  U-ri-Jee' -chee) 

OPERA  IN  FOUR  ACTS 

Book  by  Ramieri  De  Calzabigi ;  music  by  Christoph  Willibald  von  Gluck.  First  pro- 
duction in  Vienna,  October  5,  1  762,  Gluck  conducting.  First  Paris  production,  1  774,  when 
the  role  of  Orpheus  was  transposed  for  high  tenor.  First  London  production  at  Covent 
Garden,  June  26,  1770.  Other  revivals  were  during  the  Winter  Garden  season  of  1863;  in 
1885  (in  German),  by  the  Metropolitan  Opera  under  Walter  Damrosch ;  the  English  produc- 
tion in  1886  by  the  National  Opera  Company;  the  Abbey  revival  in  Italian  in  1892;  and  the 
Metropolitan  production  of  1910,  with  Homer,  Gadski  and  Gluck. 

Cast 

ORPHEUS Contralto 

EURIDICE Soprano 

LOVE Soprano 

A  HAPPY  SHADE Soprano 

Shepherds  and  Shepherdesses,  Furies  and  Demons,  Heroes  and 
Heroines  in  Hades. 


This  opera,  which  has  been  called  "Gluck's  incomparable  masterpiece,"  and  of  which 
the  great  Fetis  wrote,  "it  is  one  of  the  most  beautiful  productions  of  genius,"  may  be 
properly  termed  a  purely  classical  music  drama.  The  music  is  exquisite  in  its  delicacy  and 


VICTOR    BOOK    OF    THE    OPERA— ORPHEUS    AND    EURYDICE 


Fatal  divinita     (Gods  of  Fate) 

By  Louise  Homer,  Contralto 


grace,  while  the  story  is  an  interesting  and  affect- 
ing one.  Orpheus  may  be  called  the  grandfather 
of  grand  opera,  it  being  the  oldest  work  of  its 
kind  to  hold  its  place  on  the  stage,  the  first  repre- 
sentation occurring  one  hundred  and  fifty  years 
ago. 

The  opera  has  had  only  one  adequate  Ameri- 
can production  previous  to  the  recent  Metropolitan 
revival,  and  that  was  during  the  American  Opera 
Company  season  of  1886 — the  Abbey  revival  of 
1892  meeting  with  but  indifferent  success.  Such 
has  been  the  interest  aroused  by  the  recent  per- 
formances, that  it  is  likely  to  be  heard  quite 
frequently  in  the  future. 

The  story  concerns  the  Greek  poet  Orpheus, 
•who  grieves  deeply  over  the  death  of  his  •wife 
Euridice,  and  finally  declares  he  will  enter  the 
realms  of  Pluto  and  search  for  her  among  the 
spirits  of  the  departed.  The  goddess  Love  appears 
and  promises  to  aid  him,  on  condition  that  when 
he  has  found  Euridice  he  'will  return  to  earth 
without  once  looking  at  her. 

In  recent  productions  of  the  opera  at  the 
Metropolitan  it  has  been  the  custom  to  introduce, 
at  the  close  of  Act  1,  a  very  appropriate  air  from 
Gluck's  Alceste.  This  Mme.  Homer  has  sung  here 
very  beautifully  indeed. 


(In  Italian)      88286      12-inch,  $3.OO 


Orpheus  journeys  to  the  Gates  of  Erebus,  and  so  softens  the  hearts  of 
the  Demon  guards  by  his  grief  and  his  exquisite  playing  of  his  lyre,  that 
he  is  permitted  to  enter.  He  finds  Euridice,  and  without  looking  at  her, 
takes  her  by  the  hand  and  bids  her  follow  him.  She  obeys,  but  failing 
to  understand  his  averted  gaze,  upbraids  him  for  his  apparent  coldness 
and  asks  that  he  shall  look  at  her. 

Su  e  con  me  vieni  cara  (On  My  Faith  Relying) 

By  Johanna  Gadski,  Soprano ;  Louise  Homer,  Contralto 

(In  Italian)     89O41      12-inch,  $4.OO 

Orpheus,  knowing  that  to  cast  a  single  look  at  his  loved  one  means 
death  to  her,  keeps  his  face  averted.  The  dialogue  portrays  the  emotions 
of  the  characters,  while  Gluck's  music  suggests  the  present  perplexity 
and  the  tragedy  which  is  to  follow. 

Unable  to  endure  longer  the  reproaches  of  his  wife,  he  clasps  her 
in  his  arms,  only  to  see  her  sink  down  lifeless. 

Ach,    Ich   habe    sie   verloren      (I   Have   Lost   My 
Eurydice) 

By  Ernestine  Schumann-Heink,  Contralto 

(In  German)      88O91 

Che  faro  senza  Euridice 
Eurydice) 

By  Louise  Homer  (In  Italian)     88285      12-inch,  $3.OO    HOMER    A: 

"Malheureux!    qu'ai-je   fait?     Et    dam    quel    precipice    m'a    plonge"    mon   funeste 


12-inch,  $3.OO 

(I  Have  Lost  My 


amour  !" 


("Wretched  one,  what  have  1  done!  Into  what  gulf  has  my  fatal  love  cast  me?")   cries  the 
hapless  youth,  and  breaks  into  his  lovely  and  pathetic  lamentation. 


VICTOR    BOOK    OF   THE    OPERA— ORPHEUS    AND    EURYDICE 


THE    GATES    OF    HELL ACT    IV 


"I   have  lost  my  Eurydice 
My  misfortune   is  without  its  like. 
Cruel   fate!   I   shall   die  of  my  sorrc 
Eurydice,   Eurydice,   answer  me! 


It  is  your  faithful  husband. 
Hear  my  voice,  which  calls  you. 
Silence  of  death!  vain  hope! 

What  suffering,  what  torment,  wrings  my  heart!" 
Of  the  many  beautiful  numbers  in  Gluck's  drama  this  lovely  aria  of  mourning   (best 
known  by  the  Italian  title  Che  faro  senza  Euridice)  is  the  most  familiar.     Two  renditions,  in 
German  and  Italian,  by  two  famous  exponents  of  the  part  of  Orpheus,  are  offered  for  the 
choice  of  opera  lovers. 

The  grief -stricken  poet  is  about  to  take  his  own  life  when  the  goddess  again  appears  and 
arrests  his  arm. 
LOVE: 

Hold,   Orpheus!  Eurydice!   revive! 

ORPHEUS    (despairingly):  To   embrace   the   fond  youth 

Who  dared  so  much  for  thee ! 
ORPHEUS: 


(despot 

What   would  you   with  me? 
LOVE: 


Thine  anguish  well  doth  prove 

Thy  constancy  and  truth. 

"Tis  time  that  the  trial  be  ended! 


(Curtain) 


My  Eurydice 
EURYDICE   (rev 
My  Orpheus 


ng)  : 
(They  embrace.) 


EURYDICE    RESTORED    TO     ORPHEUS ACT     II 

299 


OTELLO 


(English) 

OTHELLO 


(Oh-ter-loh)  (Oth-thef-loh) 

OPERA  IN  FOUR  ACTS 

Text  by  Arrigo  Boito,  after  the  drama  of  Shakespeare.  Music  by  Giuseppe  Verdi. 
First  production  February  5,  1887,  at  La  Scala,  Milan.  First  London  production  May  18, 
1889.  First  American  production  April  16,  1888,  with  Campanini  as  Otello.  Some  notable 
revivals  occurred  in  1894,  with  Tamagno  and  Maurel ;  in  1902,  with  Eames,  Alvarez  and 
Scotti;  and  in  1908  at  the  Manhattan,  with  Melba,  Zenatello  and  Sammarco. 


Characters 

OTELLO,  a  Moor,  general  in  the  Venetian  army 

lAGO,  (Ee-ah'-go)  his  ensign 

CASSIO,  (Caw'-ee-o/i)  his  lieutenant 

RODERIGO,  (Roh-der-ee '-go)  a  Venetian  gentleman 

LODOVICO,  ambassador  of  the  Venetian  Republic 

MONTANO,  predecessor  of  Othello  in  the  government  of  Cyprus 

A  HERALD 

DESDEMONA,  wife  of  Othello 

EMILIA,  (^i/W./ee-aA)  wife  of   lago 


.  .  .Tenor 
Baritone 
.  .Tenor 
.  .  .  Tenor 
...  Bass 
...  Bass 

Bass 

Soprano 

Mezzo- Soprano 


Soldiers  and  Sailors  of  the  Republic ;  Venetian  Ladies  and  Gentlemen ; 

Cypriot  Men,  Women  and  Children;    Greek,  Dalmatian 

and  Albanian   Soldiers;    an  Innkeeper. 

Scene  and  Period :     End  of  the  fifteenth  century ;  a  seaport  in  Cyprus. 
300 


VICTOR    BOOK     OF     THE     O  P  E  R  A  — V  E  R  D  I '  S     OTELLO 


VERDI    AND    MAURF.L    AT    FIRST 


After  having  given  the  world  his  splendid  Aida,  Verdi 
rested  on  his  laurels  and  •was  silent  for  sixteen  years ; 
then,  at  the  age  of  seventy-four,  he  suddenly  astonished 
the  world  with  his  magnificent  Otello,  a  masterly  music- 
drama  which  alone  would  suffice  to  make  him  famous. 

The  change  from  the  Verdi  of  1853  and  II  Trovatore, 
to  the  Verdi  of  1887  and  Otello,  is  amazing.  Each  opera 
produced  by  him  shows  a  steady  advance,  until  something 
approximating  perfection  is  reached  in  Otello,  the  writing 
of  which  was  an  astonishing  feat  for  a  man  of  nearly  eighty 
years  of  age. 

The  text,  by  that  accomplished  scholar  and  master 
librettist,  Boito,  follows  closely  the  tragedy  of  Shakespeare. 

ACT  I 
SCENE— Otello' s  Castle  in  Cyprus.     A  Storm  is  Raging 

and  the  j4ngry  Sea  is  visible  in  the  Background 
Venetians,  soldiers,  including  logo,  Roderigo  and  Cassia, 
are  awaiting  the  return  of  Otello.      His  vessel  arrives  safely, 

PERFORMANCE  OF  OTELLO  and  amid  much  rejoicing  the  Moor  announces  that  the  war 

is   over,  the   enemy's   ships   having  all  been   sunk.     He   goes  into  the   castle,  and   logo  and 
Roderigo  plan  the   conspiracy  against   Cassio  and  Otello,   by  which  Roderigo  hopes  to  secure 
Desdemona  for  himself  and  logo  to  be  revenged  on  Otello. 
They    join    the  soldiers    and    try    to    induce    Cassio 
to  drink.     He  refuses,  but  when  logo  toasts  Desdemona, 
he  is  compelled  to  join.     logo  sings  the  rousing  Brindisi  : 

Brindisi — Inaffia  1'ugola  (Drinking  Song 
— Let  Me  the  Cannakin  Clink) 

By  Pasquale  Amato,  Baritone,  and  Chorus 

(In  Italian)  88338  12-inch,  $3.OO 
By  Antonio  Scotti,  Baritone 

(In  Italian)  88082  12-inch,  3.OO 
By  Antonio  Scotti,  Baritone 

(In  Italian)      87040      lO-inch,     2.OO 

during  which  he  continues  to  fill  Cassia's  glass.  When 
the  latter  is  quite  drunk  they  pick  a  quarrel  with  him, 
and  he  draws  his  sword,  wounding  Montana,  while 
logo  and  Cassio  rouse  a  cry  of  "riot,"  which  brings 
Otello  from  the  castle.  He  disgraces  Cassio  and  orders 
all  to  disperse,  remaining  alone  with  Desdemona  for  a 
long  love  scene.  Part  of  this  scene  has  been  recorded 
here  by  Mme.  Lotti  and  M.  Conti,  of  Milan.  The  cur- 
tain falls  as  husband  and  wife  go  slowly  into  the  castle. 


Quando    narravi 
Speakest) 


(When   Thou 


By  F.  Lotti,  Soprano ;  F.  Conti,  Tenor 

(In  Italian)    *55O23      12-inch,   $1.5O 


SLEZAK    AS    OTELLO 


ACT  II 

SCENE  —A  Room  in  the  Castle 

The  crafty  logo  is  advising  Cassio  how  to  regain  the  favor  of  Otello,  telling  him  that  he 
must  induce  Desdemona  to  intercede  for  him.  Cassio  eagerly  goes  in  search  of  Desdemona, 
while  logo  gazes  after  him,  satisfied  with  the  progress  of  his  schemes,  and  then  sings  the 
superb  Credo. 

*Double-Faced  Record—  For  title  of  opposite  We  see  DOUBLE-FACED  OTELLO  RECORDS,  page  304. 

301 


VICTOR    BOOK    OF    THE     O  P  E  R  A  —  V  E  RD  I  '  S     OTELLO 


Credo  (Otello' s  Creed) 

By  Pasquale  Amato,  Baritone  (In  Italian)      88328      12-inch,  $3.OO 

By  Ernesto  Badini,  Baritone  (In  Italian)  *55O23     12-inch,     1.5O 

This  is  a  free  adaptation  of  logo 's  last  speech  with  Cassio 
in  Shakespeare,  Act  II.  In  his  setting  Verdi  has  expressed 
fully  the  character  of  the  perfidious  logo :  cynical,  vain, 
weak  and  subtle.  He  declares  that  he  was  fashioned  by  a 
cruel  God  who  intended  him  for  evil,  and  that  he  cares 
naught  for  the  consequences,  as  after  death  there  is  nothing. 

The  wonderful  rendition  of  this  great  number  by  Amato 
will  be  pronounced  one  of  the  most  striking  in  his  list,  while 
a  splendid  lower-priced  record  by  Badini  is  also  offered. 

logo  sees  Desdemona  approach  and  Cassio  greet  her,  and 
as  soon  as  the  young  officer  is  earnestly  pleading  with  her 
to  intercede  for  him,  logo  runs  in  search  of  Otello,  and  sows 
the  first  seeds  of  jealousy  in  the  heart  of  the  Moor,  bidding 
him  watch  his  wife  well.  Otello,  much  troubled,  seeks 
Desdemona  and  questions  her.  She  begins  to  intercede  for 
Cassio,  but  the  Moor  repulses  her,  and  when  she  would  wipe 
his  perspiring  brow,  roughly  throws  down  the  handker- 
chief, which  is  picked  up  by  logo. 

Left  alone  with  logo,  Otello  gives  way  to  despair,  and 
expresses  his  feelings  in  the  bitter  Ora  e  per  sempre. 

Ora  e  per  sempre  addio    (And  Now, 
Forever  Farewell) 


By  Francesco  Tamagno,  Tenor 

(In  Italian)     95OO3 
By  Enrico  Caruso  87O71 

By  Nicola  Zerola  64168 


U.DA    AS    DESDEMON/ 


lO-inch,  $5.OO 
10-inch,     2.00    "" 
10-inch,     1.00 

Now  finally  convinced  that  Desdemona  is  deceiving  him,  he 
bids  farewell  to  peace  of  mind,  ambition  and  the  glory  of  conquest. 

Caruso  delivers  the  number  magnificently,  being  especially 
effective  in  the  closing  passage.  Other  renditions  are  the  famous 
one  by  Tamagno,  and  a  popular-priced  record  by  Zerola. 

logo  further  says  that  he  has  seen  Desdemona' s  handkerchief 
in  Cassia's  room,  at  which  news  Otello  is  beside  himself  with  rage. 
The  act  closes  with  the  great  scene  in  which  logo  offers  to  help 
Otello  secure  his  revenge,  and  they  swear  an  awful  oath  never 
to  pause  until  the  guilty  shall  be  punished. 

ACT  III 

SCENE—  The  Great  Hall  of  the  Castle 

Otello  now  seeks  Desdemona  and  contrives  an  excuse  to  borrow 
her  handkerchief.    She  offers  it,  but  he  says  it  is  not  the  one,  and 
asks  for  the  one  he  had  given  her,  with  a  peculiar  pattern.      She 
says  it  is  in  her  room  and  offers  to  bring  it,  but  he  at  once  de- 
nounces her,  and  sends  her  away  astonished  and  grieved  at  the 
sudden  jealousy  which  she  cannot  understand.      He  re- 
mains looking  after  her  in   the   deepest   dejection,    then 
sings  his  sorrowful  soliloquy,  Dio  mi  potevi. 

Dio  mi  potevi  scagliare    (Had  it  Pleased 
Heaven) 

By  Antonio  Paoli,  Tenor 

(In  Italian)     8824O      12-inch,  $3.0O 
By  Carlo  Barrera.  Tenor 

(In  Italian)   *55O09      12-inch,      1.50 


*Double-FaceJ  Record—  For  title  of  opposite  side  . 


^DOUBLE-FACED  OTELLO  RECORDS,  page 3 04. 
302 


VICTOR    BOOK    OF    THE     O  P  E  R  A  — V  E  R  D  I 'S     OTELLO 


logo  now  tells  Otello  how  he  had  slept  in  Cassia's  room 
lately  and  had  heard  Cassia  talking  in  his  sleep,  bemoaning 
the  fate  which  had  robbed  him  of  Desdemona  and  given  her 
to  the  Moor. 

Cassia  enters,  and  logo,  bidding  Otello  watch  behind  a 
pillar,  goes  to  the  young  officer,  and  with  fiendish  ingenuity 
induces  him  to  talk  of  his  sweetheart  Bianco.  Otello,  listen- 
ing, thinks  that  it  is  of  Desdemona  that  Cassio  speaks,  as 
Cassia  produces  the  fatal  handkerchief,  telling  logo  he  had 
found  it  in  his  room,  and  wondering  to  whom  it  can  be- 
long. Otello,  seeing  the  handkerchief  and  not  hearing  the 
conversation,  has  no  further  doubt  of  Desdemona's  guilt,  and 
•when  Cassio  departs  he  asks  logo  how  best  can  he  murder 
them  both.  The  villain  suggests  that  Desdemona  be  strangled 
in  her  bed,  and  says  he  •will  himself  kill  Cassio. 

In  a  highly  dramatic  duet,  given  here  by  Barrera  and 
Badini,  they  swear  a  solemn  oath  of  vengeance. 

Ah!  mille  vite    (A  Thousand  Lives!) 

By  Barrera  and  Badini      *55009      12-inch  $1.50 


SCOTTI,    WICK 


SCOTTI   AS   IAGO 

Messengers  now  arrive 
from  the  Senate  bearing  orders 
for  Otello,  who  has  been  re- 
called to  Venice,  and  Cassio 
appointed  Governor  of  Cyprus 
in  his  stead.  He  announces 
his  departure  on  the  morrow, 
and  then  unable  to  control  his 
rage  and  jealousy  he  publicly 
insults  Desdemona  and  flings 
her  to  the  ground.  As  she 
is  being  led  away  by  her 
maids  he  falls  in  a  fit.  The 
people,  considering  the  sum- 
mons to  Venice  an  additional 
honor  for  the  Moor,  rush  in, 
shouting  "  Hail  to  Otello," 
when  logo,  pointing  with 
fiendish  triumph  to  the  pros- 
trate body,  cries,  "Behold 
your  Lion  of  Venice !  " 


ELLO 

ACT  IV 

SCENE — Desdemona's  Bedroom 

The  heartbroken  Desdemona  is  preparing  to  retire,  assisted  by  her  maid,  Emilia.  She 
tells  Emilia  that  an  old  song  of  her  childhood  keeps  coming  into  her  mind.  Then  she  sings 
the  sad  and  beautiful  Willow  Song.  This  is  an  old  melody  which  has  been  definitely  traced 
to  the  sixteenth  century,  and  which  is  supposed  to  be  much  older. 

Salce,  salce  (Willow  Song) 

By  Nellie  Melba,  Soprano  (In  Italian)     88148     12-inch,  $3.OO 

This  plaintive  song  seems  like  the  lamentation  of  a  broken  heart,  its  last  words  being 

prophetic  of  the  coming  tragedy. 

The  faithful  Emilia  leaves  her,  and  she  kneels  before  the  image  of  the  Madonna  and 

sings  the  noble  Ace,  one  of  the  most  inspired  portions  of  the  wonderful  fourth  act. 

Ave  Maria  (Hail,  Mary) 

By  Nellie  Melba,  Soprano  (In  Italian)      88149      12-inch,  $3.OO 

By  Frances  Alda,  Soprano  (In  Italian)     88213      12-inch,     3.OO 

*D0ul>le-Face<i  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  OTELLO  RECORDS.  f>age304. 


VICTOR    BOOK    OF    THE     O  P  E  R  A  — V  E  R  D  I 'S     OTELLO 


The  "Ave  Maria"  is  in- 
troduced by  a  characteristic 
monotone  for  the  voice,  ac- 
companied by  some  organ-like 
harmonies  which  steal  in  with 
exquisite  effect  from  the  strings 
of  the  orchestra. 

The  portrayal  of  the  min- 
gled apprehension  and  resig- 
nation of  Desdemona  in  this 
scene  through  the  medium  of 
the  voice  is  worthy  to  rank 
with  Melba's  most  celebrated 
operatic  creations — her  Mar- 
guerita — her  Juliet — her  Mimi. 
The  purity  and  youthfulness 
of  the  feeling  imparted,  apart 
from  the  freshness  and  deli- 
cate perfection  of  the  tones 
themselves  is  amazing,  filling 
the  mind  with  wonder  at  the 
perpetual  miracle  of  the  sing- 
er's perfect  art.  Mme.  Alda, 
THE  MURDER  OF  DESDEMONA  (ALDA  AND  SLEZAK)  whose  Desdemona  has  been  one 

of  the  finest  of  her  impersonations  at  the  Metropolitan,  sings  the 

number  beautifully. 

At  the  close  of  the  air  Desdemona  remains  kneeling  and  prays 

in  broken  accents,  her  voice  being  almost  inaudible. 

Otello  enters  and  rushes  toward  the  bed,  but  stops  and  gazes 

at  his  sleeping  wife  a  long  time,  then  approaches  and  kisses  her. 

She  wakes  and  speaks   his  name.     He  accuses   her  again  of   an 

intrigue  with   Cassia,  but  she  swears  that  it  is  false.      He  disre- 
gards her  cries  for  mercy  and  strangles  her.     Emilia  knocks  at  the 

door  and  is  admitted  by  Otello,  who  hardly  realizes  what  he  has 

done.     Seeing  Desdemona  lifeless,  she  accuses  him  of   the  crime 

and  calls  loudly  for  help.      All  rush  in  and  Emilia,  seeing  logo, 

denounces   him   as   the  author  of   the   plot,  and   tells  Otello  that 

Desdemona  was   innocent.     The  Moor  is   torn  with   remorse,  and 

tenderly  gazing  on  his  dead  wife,  sings  his  last  air. 

Morte  d'Otello     (Death  of  Otello) 

By  Francesco  Tamagno,  Tenor 

(In  Italian)      95002      lO-inch,  $5.OO 
By  Nicola  Zerola,  Tenor 

(In  Italian)      74217      12-inch,      1.5O 

He  then  draws  a  dagger  and  stabs  himself,  and  with  a  final 
effort  to  embrace  the  Desdemona  he  has  so  cruelly  wronged,  he 
dies.  

DOUBLE-FACED  OTELLO  RECORDS 

Dio  mi  potevi  scagliare     (Had  It  Pleased  Heaven) 

By  Carlo  Barrera,  Tenor      (In  Italian)  I 
Giuramento — Ah  !  mille  vite   (A  Thousand  Lives)  ;55OO9      12-inch,  $1.5O 

By  Carlo  Barrera,  Tenor ;  Ernesto  Badini,  Baritone 

(In  Italian)] 
[Quando  narravi  (When  Thou  Speakest) 


By  F.  Lotti,  Soprano;  F.  Conti,  Tenor      (In Italian) 
]  Credo  (Otello's  Creed) 

By  Ernesto  Badini,  Baritone      (In  Italian) 


55O23      12-inch,      1.5O 


I    PAGLIACCI 

(Ee  Pahl-vat-chcc) 


(English) 


THE   PLAYERS 


Drama  in  Two  Acts.     Words  and  Music  by  R.   Leoncavallo 

The  English  version  quoted  from  is  by  Henry  Grafton  Chapman 
Quotations  from  text  and  music  (except  the  Prologue)  by  kind  permitsion  of  G.  Schirmer.     (Copy't  1906) 

Ruggiero  Leoncavallo  was  born  at  Naples, 
March  8,  1858,  and  was  the  son  of  a  magistrate, 
the  Chevalier  Vincont,  president  of  the  tribunal 
of  Potenza.  His  mother  -was  a  daughter  of  the 
celebrated  artist,  Raffaele  d'Auria,  famous  for 
his  decorations  in  the  royal  palace  at  Naples. 
He  took  up  the  pianoforte  at  an  early  age 
with  Simonetti,  a  well-known  teacher  of  Naples, 
and  entered  the  Neapolitan  Conservatoire,  where 
he  studied  under  Cesi,  Ruta  and  Rossi.  At  sixteen 
he  made  a  concert  tour  as  a  pianist  with  some 
success.  Leaving  the  Conservatoire  at  eighteen 
he  promptly  showed  his  leaning  toward  operatic 
composition  by  beginning  to  write  an  opera,  the 
libretto  based  on  de  Vigny's  well-known  drama, 
Chatterton.  Finding  an  impresario,  the  produc- 
tion of  this  opera  was  promised,  but  at  the  last 
moment  he  was  deserted  by  his  manager  and  the 
young  composer  was  reduced  to  poverty.  He  did 
not  despair,  however,  and  abandoning  for  a  time 
his  operatic  pretensions,  set  to  work  at  anything 
which  would  give  him  a  living.  He  gave  lessons 
and  played  accompaniments  at  cafe  concerts,  finally 
becoming  a  concert  pianist,  the  latter  occupation 
taking  him  to  many  countries — England,  France, 
Holland,  Germany  and  Egypt.  Returning  to  Italy 
after  several  years  of  these  wanderings,  he  proved 

that  he  had  not  been  idle  by  submitting  to  the  house  of  Ricordi  the  first  part  of  a  tremen- 
dous trilogy  based  on  the  subject  of  the  Renaissance  in  Italy. 

This  monumental  work  he  entitled  Crepusculum  (Twilight),  and  the  three  parts  were 
called:  I — Medici;  I! — Girolamo  Savonarola  ;  111 — Cezare  Borgia.  This  Ricordi  accepted,  agreeing 
to  produce  the  first  part,  and  Leoncavallo  spent  a  year  in  its  completion.  Three  years  passed 
by  and  the  production  was  not  made.  In  despair  he  went  to  the  rival  firm  of  Sonzogno, 
which  encouraged  him  to  write  the  opera  which  was  to  make  him  famous.  The  young 
composer  went  to  work  and  in  the  space  of  five  months  completed  his  opera,  basing  the 
plot  on  an  actual  occurrence  in  the  court  where  his  father  was  presiding  as  judge. 

The  production  of  Pagliacci  was  made  on  May  21,  1892,  at  the  Teatro  dal  Verme, 
Milan.  Its  success  was  overwhelming,  and  the  name  of  Leoncavallo  was  heard  throughout 
the  world.  His  fame  led  to  the  production,  in  1893,  of  the  first  section  of  the  grea^  trilogy, 
Medici ;  but  it  was  not  well  received.  Other  operas  by  Leoncavallo  which  have  been  pro- 
duced with  more  or  less  success  are:  Chatterton  (produced  1896);  Boheme  (1897);  Zaza 
(1900);  and  finally  Roland,  written  at  the  request  of  the  German  Emperor  (1904).  He  has 
written  also  a  symphonic  poem,  Serafila ;  a  baHet  (La  Vila  d'una  Marionelta)  and  several 
comic  operas. 

But  it  is  Pagliacci  which  will  keep  the  name  of  Leoncavallo  remembered.  Its  master- 
fully constructed  libretto ;  its  compelling  and  moving  story  ;  the  orchestration,  written  with 
extraordinary  skill ;  and  finally,  its  moving  and  intensely  dramatic  plot,  which  always  holds 
an  audience  in  rapt  attention. 

It  is  indeed  a  matter  for  congratulation  that  the  Victor  is  able  to  offer  such  a  fine  pro- 
duction of  this  master  work. 

305 


VICTOR  BOOK  OF  THE  OPERA— LEONCAVALLO'S  PAGLIACCI 

ANNOUNCEMENT 

The  Victor  Company  takes  pleasure  in  announcing  Leoncavallo's  famous  two-act  musical 
drama,  recorded  especially  for  the  Victor  under  the  personal  direction  of  the  composer. 
The  records  in  the  series  were  made  in  the  presence  of  Signer  Leoncavallo,  and  the  music 
conducted  by  him,  a  feature  which  should  make  this  collection  ever  valuable  and  unique. 
Any  question  arising  in  future  concerning  the  composer's  intentions  in  regard  to  the  opera 
may  be  decided  by  reference  to  this  performance  as  he  himself  conducted  it.  This  advan- 
tage would  have  been  priceless  with  regard  to  many  well-known  operas  of  the  past,  as  it 
would  have  settled  many  controversies.  But  now,  by  means  of  the  Victor,  the  composer's 
ideas  may  be  imperishably  recorded. 

The  artists  selected  by  Signer  Leoncavallo  to  interpret  his  great  work  are  well  known 
and  most  competent  ones.  Mme.  Huguet,  one  of  Italy's  most  beloved  prima  donne,  has  a 
voice  of  ample  range  and  power,  and  sings  the  music  of  Nedda  most  beautifully.  Cigada  s 
Tonio  is  a  remarkable  performance,  the  richness  and  beauty  of  his  voice  being  especially 
noticeable  in  the  Prologue  and  the  duet  with  Nedda.  As  Canio  a  choice  of  tenors  is  offered, 
the  more  delicate  voice  of  Barbaini  being  contrasted  with  the  splendid  fire  and  intensity  of 
Paoli's  singing.  Badini  as  Silvio  is  fully  adequate,  while  the  smaller  parts  are  well  filled. 
Nothing  need  be  said  about  the  orchestra  and  chorus  of  La  Scala,  as  their  reputation  is 
world  wide. 

Leoncavallo's  beautiful  opera  is  admirably  suited  for  reproduction  on  the  Victor,  and 
•while  listening  to  the  singing  of  the  artists  who  have  rendered  these  dramatic  scenes,  no 
great  imagination  is  required  to  picture  the  various  situations. 

In  addition  to  the  La  Scala  series,  which  was  made  under  the  composer's  direction, 
many  other  Pagliacci  records  are  listed  in  their  proper  places. 

THE  ARGUMENT 

During  the  orchestral  introduction  Tonio,  in  his  clown  costume,  suddenly  appears  in 
front  of  the  curtain  and  begs  permission  to  revive  the  ancient  Greek  prologue.  He  then 
comes  forward  as  Prologue  and  explains  that  the  subject  of  the  play  is  taken  from  real  life ; 
reminds  the  audience  that  actors  are  but  men,  with  passions  like  their  own,  and  that  the 
author  has  endeavored  to  express  the  real  feelings  and  sentiments  of  the  characters  he  will 
introduce.  He  then  orders  up  the  curtain. 

The  first  act  shows  the  entrance  to  an  Italian  village.  Canio  and  his  troupe  of  strolling 
players,  or  pagliacci,  having  paraded  through  the  village,  return  to  their  traveling  theatre, 
followed  by  a  noisy  crowd  of  villagers.  Canio  announces  a  performance  for  that  evening  at 
seven,  then  goes  with  Peppe  into  the  tavern.  Tonio,  the  clown,  remains  behind  ostensibly 
to  care  for  the  donkey,  but  takes  advantage  of  his  master's  absence  to  make  love  to  Nedda, 
Canio's  wife.  She  repulses  him  scornfully,  striking  him  •with  her  whip,  and  he  swears  to  be 
revenged.  Silvio,  a  rich  young  villager,  in  love  with  Nedda,  now  joins  her  and  begs  her  to 
fly  with  him.  She  refuses,  but  admits  that  she  loves  him,  her  confession  being  overheard  by 
Tonio,  who  hurries  in  search  of  his  master.  Canio  returns  too  late  to  see  Silvio,  but  hears 
Nedda' s  parting  •words,  "Forever  I  am  thine!"  Mad  with  jealousy,  he  demands  the  lover's 
name,  and  when  Nedda  refuses,  tries  to  kill  her,  but  is  restrained  by  the  others.  Nedda 
goes  to  dress  and  Canio  is  in  despair  at  the  thought  of  being  obliged  to  play  while  his  heart 
is  breaking. 

Act  II :  The  curtain  rises  on  the  same  scene  and  the  play  is  about  to  begin.  This 
proves  to  be  the  usual  farce  in  •which  the  Clown  makes  love  to  Columbine  during  the 
absence  of  her  husband,  Punchinello,  but  is  laughed  at  and  resigns  his  pretensions,  finally  con- 
senting to  act  as  a  lookout  •while  Columbine  and  her  accepted  lover,  Harlequin,  dine  together. 

Strangely  enough,  this  conventional  farce  is  very  like  the  situation  in  the  real  lives  of 
the  players,  and  •when  Punchinello  (Canio)  arrives  and  surprises  the  lovers,  as  the  play 
demands,  he  loses  his  head  when  he  hears  Columbine  repeat  in  the  farce  the  very  words 
he  overheard  her  say  to  her  real  lover  earlier  in  the  day.  Mad  with  rage,  he  again  demands 
her  lover's  name.  Nedda  tries  to  save  the  situation  by  continuing  the  play,  •while  the 
audience  is  delighted  by  such  realistic  acting  until  the  intensity  of  Canio 's  passion  begins  to 
terrify  them.  The  other  players  endeavor  to  silence  him,  but  in  vain.  Finally,  stung  by  his 
taunts,  Nedda  defies  him  and  is  stabbed,  Canio  hoping  that  in  her  death  agony  she  will  reveal 
the  name  of  her  lover.  She  falls,  calling  upon  Silvio,  who  rushes  from  the  crowd  only  to 
receive  in  turn  the  dagger  of  the  outraged  husband.  As  Canio  is  disarmed  by  the  peasants 
he  cries  as  if  in  a  dream,  "La  commedia  efinita" — (The  comedy  is  ended). 

306 


VICTOR  BOOK  OF  THE  OPERA— LEONCAVALLO'S  PAGLIACCI 


(Italian) 

I  PAGLIACCI 

(Ee  Pahl-yaf-chee) 
(German) 

DIE  BAJAZZI 

(Dee  Bah-yot'-si) 


(English) 

THE  PLAYERS 

(French) 

PAILLASSE 

(Pah-yahsi) 


DRAMATIC  OPERA  IN  TWO  ACTS 

Libretto  and  music  by  Ruggiero  Leoncavallo.  First  performed  at  the  Teatro  dal  Verme, 
Milan,  on  May  21,  1892;  in  London,  May  19,  1893.  First  New  York  production  June  15,  1894, 
•with  Kronold,  Montegrifto  and  Campanari.  Some  famous  casts  of  recent  years  at  the  Metro- 
politan and  Manhattan  opera  :  Caruso,  Farrar,  Stracciari — Alvarez,  Scheff,  Scotti — Farrar, 
Bars,  Scotti — Cavalieri,  Rousseliere,  Scotti — Deveyne,  Martin,  Campanari — Donalda,  Bassi, 
Sammarco,  etc. 


Characters  in  the  Drama 

N£DDA  (Ned'-dah  (in  the  play  "Columbine"},  a  strolling  player, 
wife  of  Canio 

CAN1O  (Kah'-nee-oh)  (in  the  play  "Pagliaccio  "  [Punchinello]), 

master  of  the   troupe 

TONIO  (Toh'-nec-oh)  (in  the  play  "Taddeo"),  the  clown 

PEPPE  (Pep' -pan)  (in  the  play  "Harlequin"} 

SILVIO,  (Sif-oee-oh)  a  villager 

Villagers  and  Peasants 


.Soprano 

...  Tenor 
.  Baritone 
.  .Tenor 
Baritone 


The  scene 


laid  in  Calabria,  near  Montalto,  or.  the  Feast  of  the  Assumption. 
Period,  between  1865  and  1870. 


VICTOR   BOOK   OF  THE  OPERA-LEONCAVALLO'S    PAGLIACCI 

THE  PROLOGUE 

Leoncavallo  chose  to  introduce  his  characters  in  a  novel  manner,  and  wrote  this  number 
in  the  midst  of  the  orchestral  prelude,  when  Tonio  comes  forward,  like  the  prologue  of  ancient 
Greek  tragedy,  and  explains  that  the  subject  of  the  play  is  taken  from  real  life,  and  that  the 
composer  has  devoted  himself  to  expressing  the  sentiment,  good  or  bad,  but  always  human, 
of  the  characters  he  introduces. 


Prologo     (Prologue) 

By  Pasquale  Amato,  Baritone                              (In  Italian)  88326     12-inch,  $3.0O 

By  Antonio  Scotti,  Baritone                                  (In  Italian)  88O29      12-inch,     3.OO 

By  Antonio  Scotti,  Baritone                                (In  Italian)  81021      10-inch,     2.00 

By  Emilio  de  Gogorza,  Baritone                           (In  Italian)  88176      12-inch,     3.00 

By  Titta  Ruffo,  Baritone                                       (In  Italian)  9204O     12-inch,     3.0O 

By  Alan  Turner,  Baritone                                   (In  English)  *16157     lO-inch,       .75 

By  Alan  Turner,  Baritone                                   (In  English)  *35OO2      12-inch,     1.25 

By  Pryor's  Band  *35158     12-inch,     1.25 

PrologO       (Prologue)       (Complete  in  two  parts) 

Part  I— Si  puo  ?     (A  Word) 

By  Titta  Ruffo,  Baritone     (In  Italian)  88392     12-inch,  $3.OO 
Part  II — Un  nido  di  memorie     (A  Song  of  Tender  Memories) 

By  Titta  Ruffo,  Baritone      (In  Italian)  88393      12-inch,     3.OO 
(a)  Part  I— Si  puo  ?     (A  Word) 

By  Francesco  Cigada,  Baritone     (In  Italian) 


(b)  Part  II — Un  nido  di  memorie     (A  Song  of  Tender 
Memories) 

By  Francesco  Cigada,  Baritone     (In  Italian) 


*35171      12-inch,     1.25 


The  first  part  of  the  Prologue  is  in  itself  a  miniature  overture,  containing  the  three  repre- 
sentative themes  associated  with  the  main  events  of  the  drama  to  be  unfolded. 

The  first  is  the  motive  which 
always  accompanies  the  appearance 
of  the  players  or  pagliacci : 

The  second  theme  represents 
Canio's  jealousy  and  is  a  sombre) 
strain  suggestive  of  revenge : 

The   third  repre- 
sents  the    guilty   love 
of  Nedda  and  Silvio: 
and     appears    fre- 
quently throughout  the  opera,  not  only  in  the  love  duet,  but  in  the  last  act,  when  Nedda 
refuses  to  betray  her  lover  even  with  death  awaiting  her. 

The  presentation  of  these  themes  is  followed  by  the  appearance  of  Tonio,  the  clown, 
•who  peeps  through  the  curtain  and  says : 

Ladies   and   gentlemen ! 
Pardon  me  if  alone  I  appear. 
I  am  the  Prologue! 

He  then  comes  in  front  of  the  curtain  and  explains  the  author's  purpose,  which  is  to 
present  a  drama  from  real  life,  showing  that  the  actors  have  genuine  tragedies  as  well  as 
mimic  ones. 


Our   author   loves  the  custon 

his  story, 
And   as    he   would    revive   fo 

glory, 

He  sends  me  to  speak  before  ye! 
Rut  not  to  prate,  as  once  of  old, 
That  the  tears  of  the  actor  are  false,  unreal, 


to         That  his  sighs  and  the   pain   that  is  told, 

He  has  no  heart  to  feel! 
nt         No!   our  author  to-night  a  chapter  will   borrow 

From   life  with   its  laughter  and  sorrow ! 

Is  not  the  actor  a  man  with  a  heart  like  you? 

So  'tis  for  men  that  our  author  has  written, 

And  the  story  he  tells  you  is  true! 


*  Double-Face  J  Record—  For  title  of  opposite  ,iJe  ,ee  DOUBLE-FACED  PAGLIACCI  RECORDS,  page  3  1 8. 


VICTOR  BOOK  OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


He  then  goes  on  to  speak  of  the  author's  inspiration,  and  says : 
A  song  of  tender  mem'ries 

Deep  in  his  list'ning  heart  one  day  was  ringing; 
And  then  with  a  trembling  hand  he  wrote  it, 
And  he  marked  the  time  with  sighs  and  tears. 
Come,  then; 

Here  on  the  stage  you  shall  behold  us  in  human  fashion, 
And  see  the  sad  fruits  of  love  and  passion. 
Hearts  that  weep  and  languish,  cries  of  rage  and  anguish, 
And  bitter  laughter! 

The   beautiful  andante  which   follows  is  the   most   admired   portion    of   the   aria,  and  is 
indeed  a  noble  strain. 

Ah,  think  then,  sweet  people,  when  ye  look  on  us, 
Clad  in  our  motley  and  tinsel, 

For  ours  are  human  hearts,  beating  with  passion, 
We  are  but  men  like  you,  for  gladness  or  sorrow, 
Tis  the  same  broad  Heaven  above  us, 
The  same  wide,  lonely  world  before  us! 
Will  ye  hear,  then,  the  story, 
As  it  unfolds  itself  surely  a'nd  certain! 
Come,  then!     Ring  up  the  curtain! 
The  curtain  now  rises,  as  the  pagliacci  motive  reappears  in  the  orchestra. 

Opening  Chorus— "  Son  qua!"  (They're  Here!) 

By  La  Scala  Chorus  (Double-faced— Seepage 318}    (In  Italian)      16814     10-inch,  $0.75 

The  first  scene,  representing  the  edge  of  a  small  village 
in  Caiabria,  is  now  revealed  to  the  audience.  The  people 
are  engaged  in  celebrating  the  Feast  of  the  Assumption,  and 
among  the  attractions  offered  to  the  crowds  who  have  flocked 
to  the  village  is  the  troupe  of  strolling  players  headed  by  Canio. 
These  wandering  mountebanks  are  common  in  the  rural  districts 
of  Italy  and  are  known  as  pagliacci.  They  take  with  them  a 
small  tent  (usually  carried  in  a  cart  drawn  by  a  donkey),  which 
hey  set  up  in  the  market  places  of  the  small  villages,  or  any- 
vhere  that  they  see  a  prospect  for  the  earning  of  a  modest 

A  number  of  the  townspeople  have  assembled  in  front  of 
the  little  theatre  and  are  awaiting  the  return  of  the  clowns,  who 
have  been  parading  through  the  village  to  announce  their  ar- 
rival, as  is  the  custom.  As  the  curtain  rises,  the  sound  of  a  drum 
and  trumpet  is  heard  from  a  distance,  and  the  villagers  are  full 
of  joy  at  the  prospect  of  a  comedy  performance.  They  express 
their  excitement  in  a  vigorous  opening  chorus.  This  is  a  clever 
bit  of  writing,  but  so  difficult  that  it  is  seldom  well  given.  The 
famous  chorus  of  La  Scala,  however,  under  the  leadership  of 
Maestro  Sabaino,  have  given  this  stirring  number  in  splendid 
style.  This  oft-recurring  phrase  : 


SAMMARCO     AS     TONIO  __ 

which  is  presented  with  many  odd  modulations,  produces  a  peculiar  and  novel  effect. 

WOMEN: 


BOYS:  Hi!    They're  here! 

They're   coming   back! 

Pagliaccio's    there 

The    grown-up    folks   and   boys 

All   follow  after! 

Their  jokes  and  laughter 

They  all  applaud. 


See,   there's  the  wagon! 
My,   what  a  fiendish  din! 
The  Lord  have  mercy  on  us! 
ALL:  Welcome  Pagliaccio; 
Long  life  to  him, 
The   prince  of  all   pagliaccios. 
You  drive  our  cares  away 
With   fun   and   laughter! 


The  little  troupe  has  now  come  into  view  and  the  noise  is  redoubled.  Canio  appears  at 
the  head  of  his  company,  his  wife,  Nedda,  riding  in  the  cart  drawn  by  a  donkey,  while 
Tonio  and  Peppe  make  hideous  noises  on  the  bass  drum  and  cracked  trumpet,  which  con- 
stitute the  orchestra  of  the  players.  Canio  is  dressed  in  the  traditional  garb  of  the  clown, 
his  face  smeared  with  flour  and  his  cheeks  adorned  with  patches  of  red.  He  tries  to 

309 


VICTOR  BOOK  OF    THE   OPERA— LEONCAVALLO'S    PAGLIACCI 


address  the  crowd,  but  the  noise  is  tremendous. 
Tonio  beats  the  drum  furiously  to  silence  the 
voices,  but  it  is  not  until  Canto  has  raised  his 
hand  to  command  attention  that  he  is  allowed 
to  speak. 

Un  grande  spettacolo !     (A 
\WmcTrous  Performance !) 

By  Antonio  Paoli,  Tenor :  Fran- 
cesco Cigada,  Baritone ;  Gaetano 
Pini-Corsi,    Tenor;      and     Sig. 
Rosci,  Baritone 
(In  Italian)     92O09      12-inch,  $3.00 

He  begins  to  address  the  peasants  in  this 
fashion : 

CANIO: 

A  wondrous  performance 

I  say  will  be  given, 

By  your  humble  servants 

This  evening  at  seven. 

The  wrath  of  Pagliaccio 

Will  there  be  presented— 

What  vengeance  he  took, 

And  the  trap  he  invented! 

You'll   witness  the   carcass   of   Tonio   tremble, 

And  see  him  dissemble  and  pile  up  the  plot! 

So  honor  us  by  coming  this  even; 

Come  all,  then,  at  seven! 

The  crowd  boisterously  express  their  joy 
at  the  prospect  of  an  evening's  entertainment. 
Can/o  now  turns  to  assist  Nedda  to  alight  from 


the  cart,  but  finds  Tonio,  the  Fool,  there  before  him.  Giving  him  a  cuff 
on  the  ear,  he  bids  him  be  off,  and  Tonio  slinks  away  muttering.  The 
boys  in  the  crowd  jeer  him,  saying: 

Does    that    suit    you,    Mr.    Lover? 

Tonio  threatens  the  boys,  who  run  away.  He  goes  grumbling  into 
the  theatre,  saying,  aside  : 

He'll  pay   for  this  ere  it's  over ! 

One  of  the  peasants  invites  the  players  to  the  wine  shop  for  a 
friendly  glass.  They  accept,  and  Canio  calls  to  Tonio  to  join  them,  but 
he  replies  from  within :  "  I'm  rubbing  down  the  donkey,"  which  causes 
/  a  villager  to  remark,  jestingly : 


A  PEASANT:   Ca 


reful,    Pagliaccio! 

only   stays   behind   ther 
r   making  love  to   Nedda 


Canio    smiles,  but    knits  his  brow  and  is 
evidently  impressed  by  the  thought. 

CANIO:  Eh!     ^Vhat? 

You  think  so? 

(He  becomes  serious,  and  signing  to  the  peasants 
to  come  round  him,  he  begins  to  address  them.) 


Un  tal  gioco     (Such  a  Game  !) 

By  Antonio  Paoli  and  La  Scala  Chorus  (In  Italian) 

By  Nicola  Zerola,  Tenor  (In  Italian) 


12-inch,  $3.OO 
10-inch,      l.OO 


The   first   trace   of  Canio  's  jealous  nature  is   now    shown,   as    he    takes   with  apparent 
seriousness  the  idle  joke  of  the  peasant,  and  begins  to  warn  the  spectators  as  follows  : 

310 


VICTOR   BOOK   OF   THE  OPERA—  LEONCAVALLO'S    PAGLIACCI 


CANIO:  Such  a  game,  I'd  have  you  know, 

'Twere  better  not  to  play,  my  neighbors; 

To  Tonio,  aye,  to  you  all  I  say  it: 

For  the  stage  there  and  life,  they  are  different  altogether! 


If  up  there,   (pointing  to  the  theatre) 
Paghaccio  his  lady  sho 


Pag 

With 


ady 

fine  fell 
He'd  give  the  two  a  rating 
And  take  a  jolly  beating! 
( With  a  sudden  change  of  tone) 


ould  discover 
her  room, 


or  resign  himself, 


Hut  if  Nedda  I  i 
What  came  after 


ly  should  surprise  so, 
;re  a  far  different  story! 


Nedda,  who  is  listening,  is  surprised  and  says  aside :  "  What  does  he  mean  ?"  The 
villagers,  rather  puzzled  at  his  earnestness,  ask  him  if  he  is  serious.  With  an  effort  he  rouses 
himself  from  his  gloomy  mood  and  says  lightly : 

Not  I — I  love  my  wife  most  dearly! 

(He  approaches  Nedda  and  fosses  her  on  the  forehead. ) 
The  sound  of  bagpipes  (oboe)  is  heard  in  the 
distance,  telling  of  the  merrymaking  in  the  village, 
and  the  church  bells  begin  to  toll  the  call  to  vespers. 
The  people  commence  to  disperse,  and  Canio  again 
repeats  his  melodious  strain  of  invitation: 

Cino  JXX.T, 


£  &. 
(He  goes  with  several  peasants  into  the  inn.) 

Coro   della  campane     (Chorus  of  the 
Bells) 

By  La  Scala  Chorus 

(7n  Italian)  *35 1 72  12-inch,  $  1 .25 
This  is  the  famous  Bell  Chorus,  or  "  Ding  Dong  " 
Chorus,  one  of  the  most  remarkable  numbers  in  the 
opera.  It  is  sung  with  spirit,  and  the  chiming  bells  are 
introduced  in  a  most  effective  manner.  The  people  go 
off  singing  and  the  measures  die  away  in  the  distance. 

Ballatella,  "  Che  volo  d'angelli !"    (Ye 
Birds  Without  Number!) 

By  Alma  Gluck.  Soprano  (In  Italian)       74238     12-inch,  $1.5O 

By  Giuseppina  Huguet,  Soprano  (In  Italian)     *35172     12-inch,     1.25 

Nedda,   left   alone,  is  troubled    by  her   remembrance  of   Canio 's  manner  and   wonders 
if  he  suspects  her.     She  speaks  of  the  fierce  look  he  had  given  her,  and  says : 

I  dropt  my  eyes,  fearful  lest  he  should  have  read  there 
What   I   was  secretly  thinking. 

But  shaking  off  her  depression,  she  becomes  once  more  alive  to  the  brightness  of  the 
day,  which  fills  her  with  a  strange  delight.     A  gay  tremolo  in  the   strings  announces  the 
theme  of  the  birds,  and  Nedda  speaks  of  her  mother,  whom  she  said  could  understand  their 
language.         xEDnA:  Ah.  ye  birds  without  number! 
What  countless  voices! 
What  ask  ye?     Who  knows? 

My  mother,  she  that  was  skillful  at  telling  one's  fortune, 
Understood   what  they're    singing, 
And  in  my  childhood,  thus  would  she  sing  me. 
Then  follows  the  brilliant  Balatella  or  Bird  Song,  beginning : 


VICTOR  BOOK   OF   THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


It  is  a  most  beautiful  number  with  an  exquisite  accompaniment,  mainly  of  strings. 
Mme.  Gluck  gives  it  here  in  delightful  fashion,  singing  with  dazzling  brilliancy,  while  a  very 
fine  rendition  by  Mme.  Huguet  is  offered  as  part  of  a  double-faced  record. 

So  ben  che  deforme     (I  Know  That  You 
Hate  Me) 

By  Giuseppina  Huguet,  Soprano,  and  Fran- 
cesco Cigada,  Baritone 

(In  Italian)  *35173  12-inch,  $1.25 
At  the  close  of  her  song  Nedda  finds  that  the  hideous 
Tonio  has  been  listening,  and  now  seeing  the  handsome 
Columbine  alone,  begins  to  make  love  to  her ;  but  she 
scornfully  orders  him  away.  He  persists,  but  his  protesta- 
tions are  greeted  with  mocking  laughter,  and  Nedda  says 
insolently : 

NEDDA: 

There's   time,   if  you   like, 

Once  more  to   tell   me   this   evening 

When  you   will  be  acting  the   fool: 

Just  now,  it  is  painful. 

In  a  furious  rage,  Tonio  swears  she  must  listen  to  him 
and  cries: 


CLUCK   AS   NEDDA 
TONIO: 

You   mock   me  ?      Wretched   creature 

By  the  cross  of  the  Savior 

You   shall  pay   for  this,  and  dearly! 


NEDDA: 

A  threat,   eh?     Come,   or  I'll  be  calling  Canio! 
TONIO: 

Hut  not  until  I've  kissed  you! 

(Rushing   toward   her.) 


12-inch,  *1.25 


Nulla  scordai !     (Naught  I  Forget !) 

By  Giuseppina  Huguet,  Francesco  Cigada,  and  Ernesto  Badini 

(Doubled  with  above  duet)  (In  Italian)     *35173 

Tonio,  driven  almost  to  madness  by  Nedda 's  scorn  and  ridicule, 
seizes  and  tries  to  kiss  her.  She  strikes  him  across  the  face  with  her 
•whip,  crying : 

Oh,   you   would,   you  cur! 

TONIO    (screaming)  :  By  the  Blessed  Virgin  of  Assumption, 
Nedda.   I  swear  it, 

You  shall  pay  me  for  it!      (Rushes  off.) 
NEDDA    (watching  him):  Scorpion!   at  last  you've   shown   your  nature! 

The  heart  of  you  is  just  as  crooked  as  your  body! 

The  young  villager,  Silvio,  whom  Nedda  has  secretly  met  on 
previous  visits  to  the  town,  now  jumps  over  the  wall.  Nedda, 
alarmed,  cries :  SILVIO 

NEDDA:  Silvio!      In   the   daytime?     What  folly! 
SILVIO    (smiling):  I   fancy   it's   no  great   risk  I'm   taking! 

Canio  I  spied  from  afar  with  Peppe  yonder. 
Ay !  at  the  tavern  I  saw  them ! 

She  tells  him  of  Tonio 's  behavior  and  bids  him  beware,  as  the  clown  is  to  be  feared. 
Her  lover  cheers  her  and  laughs  at  her  fears,  and  they  sing  the  beautiful  love  duet,  in 
•which  Silvio  urges  her  to  fly  •with  him ;  but  she  is  afraid  and  begs  him  not  to  tempt  her. 
He  persists,  and  reproaches  her  for  her  coldness,  until  finally  in  a  passion  of  abandon- 
ment she  yields,  singing  the  beautiful  passage  which  begins  the  record : 
Then  together  they  sing  the  lovely  duet : 


N.™5b,     I      for    -    jrt, 

BOTH:   All,  all  forgot! 
NEDOA:   Look  into  my  eyes,  love, 
All   is   forgotten ! 
Then  kiss  me.  dear! 


but      ,,,       .iS,    .   -    m.     -     lioo 

SILVIO:  Thou'lt  come? 
NEDDA    (fassionatcly}  : 
Aye !  kiss   ine  < 
BOTH:   I  "love  thee! 

312 


VICTOR   BOOK  OF   THE  OPERA-LEONCAVALLO'S  PAGLIACCI 


The  lovers,  who  have  cast  aside  all  prudence  and  see  only 
each  other,  fail  to  observe  Canio,  who  has  been  warned  by  Tonio 
and  has  hurried  from  the  tavern. 


TONIO    (holding   C 
SILVIO   (disappearing  orer  the  wall) 


back):  Now  just  step  softly, 

And  you  will  catch  them  now! 


To-night   at   midnight, 
I'll  be  there  below! 
NEDDA:   'Till   to-night   then, 

And   forever   I'll   be  thine! 

(She  sees  Canio  and  gives  a  cry  of  fear.) 

Aitalo  Signer !     (May  Heaven  Protect  Him !) 

By  Antonio  Paoli    Tenor;    Giuseppina  Huguet, 
Soprano;  Francesco  Cigada,  Baritone;  Gaetano 
Pini-Corsi, Tenor  (In  Italian)     92011      12-inch,  $3.00 
Canio,  who  has  not  seen  Silvio,  but  has  heard  Nedda' s  part- 
ing words,  now  rushes  toward   the    wall.     Nedda    bars    his   way. 
The  record  begins  -with  the  melodramic  music  written  by  Leonca- 
vallo   for    this    exciting   struggle,    during  which   Canio  pushes  her 
aside  and  runs  in  pursuit  of  Silvio. 

NEDDA    (listening  anxiously) : 

CANIO    (from  behind)  : 

TONIO    (laughing    cynically): 

NEDDA    (turning   to   Tonio   with   loathing): 

TONIO    (with  fiendish   satisfaction):  All  that  I  could  do! 

But  I  hope  in  the  future  to  do  better! 
Can/o  re-enters,  out    of    breath  and  com- 
pletely exhausted.    As  he  turns  to  Nedda  with 
suppressed  rage  we  hear  again  in  the  accom-  | 
paniment  that  dismal  theme  of  revenge: 
which  throughout  the  opera  always  accompanies  the  scenes  of  Canio's  jealousy  and  passion. 
CANIO: 

No  one! 

That  shows  how   well   he  knows  that  path. 
But  no  matter! 
(Furiously) : 

Because  right  now  you'll  tell  me  his  name! 
NEDDA  (indifferently)  : 
Mr: 


SILVIO    AND    NEDDA 

May  Heaven  protect  him  now ! 
Scoundrel!     Where  hidest  thou? 
Ha!     Ha!     Ha! 
Bravo!   Well  done,  Tonio! 


CAN  19   (in  frenzy): 
By  G< 


Yo 
And 


God  in  Heaven ! 

this  moment  I  have 


lot  cut  your  throat, 


'Tis  because  I'd  have  you  name  him ! 
Speak  now! 

Nedda  proudly  refuses.  Filled  with  joy  because  of 
Silvio's  escape,  she  cares  not  what  may  be  her  own  fate. 
Canio,  beside  himself,  rushes  on  her  with  the  knife,  but 
Peppe  holds  him  back  and  takes  away  his  weapon.  Tonio 
comes  to  Peppe 's  assistance,  saying : 

Restrain  yourself,   good  master, 
'Tis  best  to  sham  awhile. 
The  fellow  will  come  back, 
You  take  my  word  for  it! 

They  finally  persuade  him  to  restrain  himself,  and 
beg  him  to  make  ready  for  the  play,  as  the  audience  is 
already  assembling. 

Nedda  goes  into  the  theatre  and  Canio  remains  alone, 
his  head  bowed  with  shame  and  baffled  revenge  in  his 
soul. 


Vesti  la  giubba  (On  With  the  Play) 

By  Enrico  Caruso,  Tenor 
By  Nicola  Zerola,  Tenor 


88061 
64169 


12-inch.  $3.00 
10-inch,     1.00 


VICTOR  BOOK    OF  THE   OPERA— LEONCAVALLO'S  PAGLIACCI 


We  now  come  to  the  most  famous  of  the  numbers  in 
Leoncavallo's  opera,  the  great  Lament  of  Pagliaccio.  Its  heart- 
breaking pathos  never  fails  to  touch  the  listener,  when  sung  by 
such  artists  as  the  Victor  offers. 

The    unhappy    Canio,    left    alone    after   the  exciting  scene  with 
Nedda,  wrings  his  hands  and  cries : 

CANIO: 

To  play !     When  my  head's  whirl 

ing   with    madness, 
Not   knowing   what   I'm    saying   o 

what  I'm  doing! 

The  great  aria  now  follows,  in  which  the  unfortunate  Pagliaccio 
describes  how  he  must  paint  his  face  and  make  merry  for  the  public 
while  his  heart  is  torn  with  jealousy. 
CANIO: 

The    people    pay    you,    and    they    must    have 

their  fun! 
If     Harlequin     your     Columbine     takes     from 

you, 

Laugh  loud,   Pagliaccio! 
And  all  will  shout,  well  done! 


Yet  I  must  force  myself! 
I  am  not  a  man, 
I'm  but  a  Pagliaccio! 


Laugh,  Pagliacci 
(Sobbing)  : 

Laugh    for    the 
heart! 


that  is  ended! 
gnawing    your 


(He  moves  slowly  toward  the  theatre,  Weeping ;  he  stops  at  the  entrance  and  hesitates.  Seized 
by  a  new  fit  of  sobbing,  he  buries  his  face  in  his  hands ;  then  as  the  curtain  slowly  falls,  rushes 
into  the  tent.) 

Caruso's  Canio  is  still  the  great  feature  of  Pagliacci,  and  his  magnificent  singing  of  this 
famous  lament  cannot  be  described — it  must  be  heard.  In  all  that  this  artist  has  done  there 
is  no  piece  of  dramatic  singing  to  equal  in  emotional  force  his  delivery  of  the  reproaches  of  the 
clown,  which  he  pours  out  not  only  on  his  faithless  wife,  but  on  himself  and  the  occupation 
that  bids  him  be  merry  when  his  heart  is  breaking.  Sometimes  Caruso's  voice  merely  delights 
the  ear — here  he  searches  the  heart ;  and  is  not  merely  the  greatest  of  tenors,  but  is  the  clown 
himself,  full  of  the  most  tragic  emotion. 

ACT  II 

SCENE— Same  as  Act  I 

La  Commedia    (The  Play)    Part  I,  Serenata  d'Ar- 
lecchino     (Harlequin's  Serenade) 

By  Giuseppina  Huguet  and  Gaetano  Pini-Corsi, 

(Double-faced— See  page 3 1 8)  (In  Italian)       35174     12-inch,  $1.25 
Passing    over    the    preparations    for    the    play  and    the   quarreling 
chorus  of  the  peasants   as   they  fight    for   the   best  seats,  which  is  not 
interesting  without  the  action,  we  come  to  the  commencement  of   the 
comedy.     The  curtain  is  drawn  aside,  disclosing  a  small  room  with 
two  side  doors  and  a  window  at  the  back.     Nedda  as  Columbine  is 
discovered  walking  about  anxiously.      The  tripping  minuet  movement 
which  runs  throughout  the 
action  of  the  comedy  now 
begins. 

Columbine  rises  and  looks  out  of  the  window,  saying  : 
PaHiaccio,   my  husband,  till  late  this  evening 
Will  not  be  at  home. 

The  sound  of  a  guitar,  cleverly  imitated  by  the  violins,  pizzicato, 

the  voice  of  Harlequin 


NEDDA    AS     COLUMBINE 


causes  Columbine  to  utter  a  cry  of  joy,  and 
is  heard  out-          n^wm.  <P«PI». 
side    in    the 
Serenade,  be- 
ginning: O Col  -  am-bio.,  ,™    H« 


in  which  he  extravagantly  rhapsodizes  his  sweetheart. 

314 


VICTOR   BOOK   OF    THE  OPERA— LEONCAVALLO'S  PAGLIACCI 


La  Commedia     (The  Play)     Part  II,  E  dessa !     (Behold  Her !) 

By  Giuseppina  Huguet,  Soprano;  Francesco  Cigada,  Baritone;  and 

Gaetano  Pini-Corsi,  Tenor  (In  Italian)     *35174     12-inch,  $1.25 

Tonio    as   Taddeo,    with   his  basket,    now  peeps  through  the 
door  and  says        ^*<*»?>  ««*««««•       QHIU«  MI  b^ama  a.  <»*.>., 
exaggeratedly, 

w' ' ^  a 
cadenza: 

The  audience  laughs  in  delight  as  Tonio  tries  to  express  his  love 
by  a  long  exaggerated  sigh.  Columbine  tries  to  suppress  him  by 
inquiring  about  the  chicken  he  had  been  sent  for,  but  Tonio  kneels, 
and  holding  up  the  fowl  says : 

See,  we  are  both  before  thee  kneeling! 

His  pretensions  are  cut  short  by  Harlequin,  -who  enters  and  leads 
him  out  by  the  ear.  As  he  goes  he  gives  the  lovers  a  mock  benediction, 
singing : 

Then    I    my    claim    surrender.      Bless    you,    my    children! 

This  scene  is  most  cleverly  done  and  the  three  records  depicting 
the  little  farce  are  among  the  most  enjoyable  of  the  series. 

Versa  il  filtro  nella  tazza  sua !     (Pour  the  Potion 
in  His  \^ine.  Love !) 

By  Antonio  Paoli,  Tenor;  Giuseppina  Huguet,  Soprano; 

AMATO  AS  TONIO  Francesco    Cigada,   Baritone ;    and    Gaetano    Pini- 

Corsi,  Tenor  (In  Italian)     91073     10-inch,  $2.OO 

By  Augusto    Barbaini,  Tenor;    Giuseppina    Huguet,  Soprano;    Francesco 
Cigada,  Baritone;    and   Gaetano  Pini-Corsi,  Tenor 
(Double-faced — Seepage  318)  (In  Italian)     35175      12-inch,     1.25 

The  lovers  now  partake  of  their  feast  and  make  merry  together.     Harlequin  takes  from 
his  pocket  a  little  vial,  which  he  gives  to  Columbine,  saying : 


HARLEQUIN: 

Take    this    little    sleeping    draught, 
'Tis  for  Pagliaccio! 
Give  it  him  at  bedtime, 
And  then  away  we'll  fly. 


COLUMBINE    (eagerly): 
Yes,  give  me! 


Upon  the  scene  suddenly  bursts  Tonio,  in  mock  alarm  crying : 
TONIO  (bawling  loudly) : 

Be  careful!     Pagliaccio  is  here! 
Trembling  all  over,  he  seeks  for  weapons! 
He  has  caught  you,  and  I  shall  fly  to  cover! 

The  lovers  simulate  the  greatest  alarm,  at  which  the  excited  spectators  are  highly  pleased, 
and  applaud  lustily.  Harlequin  leaps  from  the  window,  and  Nedda  continues  the  scene  by 
repeating  Columbine's  next  lines,  which  by  a  strange  chance  are  the  very  words  she 

had  spoken   to 

Silvio  earlier  in  | 

the  day : 

Till    to   •  night,  th.o!  M  C  «  •  S  I     ih»U  b,     I 

Canio,  dressed  as  Punchinello,  now  enters  from  the  door  on  the  right. 

CANIO   (with  suppressed  rage)  : 

Hell   and  damnation! 

And  the  very  same  words,  too! 
(Recovering  himself)  : 


But,  courage! 
(Taking  up  his  part): 

You  had  a  man  with  you! 
COLVMBINE   (lightly): 

What  nonsense !      You  are 


PAGLIACCIO  (restraining  himself  with  difficulty): 

Ah,  if  thou  wast  alone  here 

Why  these  places  for  two? 
COLUMBINE: 

Taddeo  was  supping  with  me. 

He's  there — you  scared  him   into   hiding ! 
TADDEO   (from  within): 

Believe  her,  sir!     She  is  faithful: 
(Sneering)  : 

Ah,  they  could  never  lie,  those  lips  so   truthful! 

315 


VICTOR  BOOK  OF  THE    OPERA— LEONCAVALLO'S    PAGLIACCI 


he  turns  to  Nedda  and  h 


is   loudly, 
ercely  de 


emands  the  name  of  her  lover : 


CANIO:     Woman,  'tis  thy  lover's  name  I  want, 

The  wretched  scoundrel  from  whose  arms  thou  comest! 
Oh,  shameless  woman! 
NEDDA   (.faintly,  much  alarmed)  :     Pagliaccio!     Pagliaccio! 

No,  Pagliaccio  non  son ! 
(No,  Punchinello  No 
More !) 

By  Enrico  Caruso,  Tenor 

(Italian)  88279  12-inch,  $3.0O 
By  Antonio  Paoli,  Tenor 

(Italian)  92O12  12-inch,  3.OO 
By  "Nicola  Zerola,  Tenor 

(Italian)  74247  12-inch,  1.5O 
By  Augusto  Barbaini,  Tenor 

(Italian)   *35175      12-inch,    1,25 

Throwing  off  entirely  the  mask 
of  the  player,  Canio  becomes  again 
the  jealous  husband,  and  sings  this 
great  aria,  which  is  second  only  to 
the  Vesii  la  giubba  in  dramatic  power. 
CANIO: 

No,  Pagliaccio,  I'm  not! 

If  my  face  be  white, 

'Tis  shame  that  pales  it 

And  vengeance   twists  my  fea- 


I  am  that  foolish  man 

Who     in     poverty     found     and 

tried   to    save   thee! 
He  gave  a  name  to  thee, 
A  burning  love  that  was  mad- 
ness! 

(Falls       in       a       chair,       over- 
whelmed.) 

The  people,  while  a  little  puz- 
zled by  such  intensity,  loudly  ap- 
plaud what  they  think  is  a  piece  of 
superb  acting. 


CANIO   (recovering  himself):    All  my  life  to  thee  I  sacrificed  with  gladness! 

Full  of  hope  and  believing  far  less  in  God  than  thee! 


Go!     Thou'rt  not  worth  my  grief, 
O  thou  abandoned  creature! 
And  now,   with   my  contempt, 
I'll  crush  thee  under  heel! 

Caruso's  rendering  of  this  great  scene  is  a  magnificent  one.  The  opening  passage  is 
delivered  with  tremendous  power,  as  Canio  pleads  his  defense,  saying  that  he  is  no 
longer  a  player,  but  a  man,  and  protests  as  a  man  against  the  wrong  inflicted  upon  him. 
His  passion  gives  place  to  a  softer  strain  as  he  speaks  of  his  love  for  Nedda,  his  faith- 
fulness and  his  sacrifices  for  her.  At  the  close  is  the  intense  climax,  with  its  splen- 
did high  B  flat.  Other  fine  renditions  of  the  air  are  by  Paoli,  Zerola  and  Barbaini. 


Finale  to  the  Opera 

By  Antonio  Paoli,  Tenor;  Giuseppina  Huguet,  Soprano;  Francesco 
Cigada,  Baritone;  Gaetano  Pini-Corsi,  Tenor;  Ernesto  Badini, 
Tenor;  and  Chorus  (In  Italian)  92O13  12-inch,  $3.OO 


VICTOR   BOOK  OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


The  close  of  Canio  's  great 
air, "  No,  Pagliaccio  No  More !  " 
is  greeted  with  loud  cries  of 
"  bravo"  from  the  excited  au- 
dience. 

Nedda  is  now  thoroughly 
alarmed,  but  courageously 
faces  her  husband  with  out- 
ward calm. 

NEDDA  (coldly  but  seriously)  : 
'Tis  well! 

If  thou  think'st  me  vile, 
Send  me   off,   then, 
Before  this  moment's  over! 

CANIO  (laughing  loudly): 
Ha!     Ha! 
Oh,     nothing     better     would'st 

thou  ask, 
Than    to    be    let    run    to    meet 

thy    lover! 
No!  by  Heaven,  for  here  thou 

stayest, 
Until      thy      paramour's      vile 

name   thou   sayest! 

Nedda,  in  desperation, 
tries  to  continue  the  play,  and 
as  the  little  gavotte  movement 
is  resumed  in  the  accompani- 
ment, she  sings : 

NEDDA:   Oh  dear.  I  never  knew  that  you 
Were  such  a  fearful  man,  sir! 
There's  nothing  tragic  for  you  here. 
Come  now,  Taddeo,  answer! 

The  crowd   begins  to  laugh,  but  is  checked  by  Canto's  appearance,  which  is  alarming. 
CANIO   (violently):   Ah,  you  defy  me! 

You'll  name  him,  or  else  I'll  kill  you! 
(Shouting):   Who  was  it? 
EDDA  (throwing  off  her  mask  defiantly)  : 
No,  by  my  mother, 

I'm  faithless,  or  whatever  you  choose  to 
(Proudly):   But  cowardly,  no,  never! 


•all 


_    vill  not  speak! 

No,  not  even  if  you  kill  me. 


e  hear    triumphantly  appearing    above 


As    she  sings 
voice    the 
love  motive: 


telling  of  her  passion  for  Silvio,  which  is  to  endure  even  unto  death. 
Canio  now  rushes  toward  her,  but  is  restrained  by  Tonio  and  Peppe. 
Nedda  tries  to  escape,  but  Canio  breaks  away  and  stabs  her,  crying  : 
CANIO:  Take  that! 

Perhaps  in  death's  last  agony, 
You  will  speak! 
Nedda  falls,  and  with  a  last  faint  effort  calls : 

"Oh,  help  me,   Silvio." 
Silvio,  who  has  drawn  his  dagger,  rushes  to  her,  when  Canio  cries : 

Ah,  'twas  you!     'Tis  well!      (Stabs  him.) 
CANIO  (as  if  stupefied,  letting  fall  his  knife): 

The  comedy  is  ended! 

Then  once  more  is  heard  the  tragic  motive  of  jealousy  and   death,  n 
by  the  orchestra  as  if  rejoicing  at  its  final  triumph. 

Curtain. 
317 


thundered  out 


VICTOR  BOOK  OF  THE  OPERA— LEONCAVALLO'S    PAGLIACCI 


DOUBLE-FACED  AND  MISCELLANEOUS  PAGLIACCI  RECORDS 


[Prologue,  Part  I       By  Francesco  Cigada,  Baritone     (In  Italian)} 
\Prologue,  Part  II     By  Francesco  Cigada,  Baritone     (In  Italian)) 

/Prologue  By  Alan  Turner,  Baritone     (In  English)\ 

\     Come  into  the  Garden,  Maud  By  Harold  Janis,  Tenor} 


By  Pryor's  Band\ 

By  Pryor's  Bam//35158 


-*.-- 


„,  1  _„ 

*° 


{Prologue 
Flying  Dutchman  Fantasia 

/Coro  della  campane  By  La  Scala  Chorus     (In 

[Che  volo  d'angelli     By  Giuseppina  Huguet,  Soprano     (Italian)f 

(So  ben  che  deforme  By  Huguet  and  Cigada     (In  Italian)} 

\Nullascordai!  By  Huguet,  Cigada  and  Badini     (In  hall 

(La  Commedia — Part  I  By  Huguet  and  Pini-Corsij 

<  La  Commedia — Part  II     By  Giuseppina  Huguet,  Soprano ;          [35 1  74 
Francesco  Cigada,  Baritone:  Gaetano  Pini-Corsi.TenorJ 

I  Versa  il  filtro  nella  tazza  sua !  1 

By  Barbaini,  Huguet,  Cigada  and  Pini-Corsi     (In  Italian)  [351  75 
No,  Pagliaccio  non  son!          By  Augusto  Barbaini     (In  Italian)} 

By  Alan  Turner,  Baritone     (In  English)\ 
By  Alan  Turner,  Baritone     (In 


12-inch,  $1.25 

12-inch,  1.25 

12-inch.  1.25 

12-inch,  1.25 

12-inch,  1.25 

12-inch,  1.25 

12-inch.  1.25 


(Prologue 
\     Brown  Eyes 

/Opening  Chorus, "Son  qua"    By  La  Scala  Chorus    (In  Italian) 
\      Trooatore — Per  me  ora  fatale — Ernesto  Caronna  and  Chorus     (Italian) 


10-inch,       .75 
16814      lO-inch,       .75 


Gems  from  Pagliacci 

Chorus — "Ding  Dong" — "This  Evening  at  Seven" — Bird  Song,  "Ye  Birds 
Without  Number" — "  Pagliaccio's  Lament"  (Vesti  la  giubba)  —  Duet,  The 
Comedy,  "Just  Look  My  Love" — Chorus,  "See,  They  Come" 

By  Victor  Opera  Company  (In  English)     31876     12-inch,  $1.OO 

The  Victor's  potpourri  opens  with  the  famous  Bell  Chorus,  or  "Ding  Dong"  Chorus, 
one  of  the  most  remarkable  numbers  in  the  opera.  The  chiming  bells  are  introduced  in  a 
most  effective  manner,  and  the  measures  die  away  in  the  distance. 

Then  comes  Canio  's  address 
to  the  peasants,  telling  them  of 
the  play  which  will  be  given  that 
evening,  followed  by  Nedda's 
beautiful  song  to  the  birds,  with 
its  exquisite  accompaniment. 

Next  we  have  the  most  fa- 
mous of  the  numbers  in  the 
opera,  the  great  lament  of  Pag- 
liaccio. Mr.  Rogers  now  goes 
to  Act  II  for  a  bit  of  the  de- 
lightful comedy  duet  between 
Columbine  and  Harlequin,  and 
concludes  the  record  with  the 
rousing  chorus  of  villagers 
•which  greets  the  coming  of  the 
players  at  the  beginning  of  the 
opera. 

This  is  one  of  the  finest 
records  of  the  Opera  Company 
series,  the  masterly  arrange- 
ment being  given  by  the  Vic- 

tor's   famous   organization  in  a 

IE  TN&T«E  THE  COMEDY  is  ENDED!  most  admirable  manner. 


PARSIFAL 

A  FESTIVAL  DRAMA  IN  THREE  ACTS 

Music  by  Richard  Wagner  ;  libretto  by  the  composer,  based  on  the  famous  Grail  Legend. 
First  produced  at  Bayreuth,  in  Germany,  July  28,  1882,  and  not  elsewhere  until  December 
24,  1903,  when  it  was  given  at  the  Metropolitan  Opera  House,  New  York,  in  spite  of  the 
determined  opposition  of  Mme.  Wagner.  A  production  in  English  was  afterward  given 
by  Henry  W.  Savage's  company,  which  toured  the  United  States. 


Characters 
TlTUREL,  a  Holy  Knight 

AMFORTAS,  his  son 

GURNEMANZ,  a  veteran  Knight  of  the  Grail 

PARSIFAL,  a  "  guileless  fool " 

KUNGSOR,  an  evil  magician 

KUNDRY  

Knights  of  the  Grail ;  Klingsor's  Fairy  Maidens. 
319 


Bass 

.  .  Baritone 

Bass 

.  .  .  .Tenor 

Bass 

. .Soprano 


VICTOR    BOOK    OF    THE     O  PE  R  A— WAG  N  E  R'S    PARSIFAL 


Buhuenfestspielhaus  Bayteuth. 

Am  26'.  uuil  •&  .Mi 

fur  die  Milglieder  des  P.ilronal-Vereins, 

m  30.  Juli,  I.  4.  II S.  II.  |:i.  I.',.  IS,  ;*l  -8.  38,  27. 29.  Aug.  188 

offentliche  AuffiUirungen  des 

PARSIFAL 

lit  3iha.3weihfiitiplil  »aa  EICHASD  WAGHIR. 


S?j*p»- 


(BAYREUTH,   1882) 


THE  STORY 


The  story  of  the  Grail  is  perhaps  the  most  beautiful 
in  legendary  lore.  Wagner's  version,  which  was  inspired 
by  a  mediaeval  epic  written  about  1  300  by  Wolfram  von 
Eschenbach,  of  Thuringia,  whom  Wagner  has  already 
introduced  to  us  in  Tannhauser,  tells  of  the  Holy  Grail, 
the  cup  from  which  Christ  drank  at  the  Last  Supper 
with  His  disciples,  and  into  which  was  placed  the  blood 
which  flowed  from  the  wounds  of  the  Saviour. 

This  sacred  cup,  together  with  the  lance  which 
caused  these  wounds,  was  in  danger  of  profanation  from 
infidel  hands,  and  was  therefore  sent  by  holy  messengers 
to  a  pure  Knight,  Titurel,  who  built  a  splendid  sanctuary 
on  an  inaccessible  rock  in  the  Pyrenees  and  gathered  to- 
gether a  company  of  Knights  of  unimpeachable  honor, 
•who  are  devoting  their  lives  to  the  guarding  of  the  Grail. 
Once  each  year  a  dove  descends  from  Heaven  to  renew 
the  sacred  powers  of  the  Grail  and  its  guardians.  Such 
a  subject  as  this,  mystic,  symbolic  and  poetic,  so  inspired 
Wagner  that  in  Parsifal  he  reached  his  highest  sphere 
as  a  composer.  By  no  other  writer  or  composer  has  this 
most  beautiful  of  legends  been  so  reverently  treated,  or 
given  such  a  wonderful  significance. 

The  events  which  are  supposed  to  occur  before  the 
opening  of  the  opera  must  be  understood  before  a  clear 
idea  of  the  action  of  Wagner's  -work  can  be  gained. 
Titurel,  finding  himself  growing  old,  appoints  his  son, 
Amfortas,  as  his  successor.  Near  the  Castle  of  Monsalvat  there  lives  Klingsor,  a  Knight,  who, 
feeling  himself  growing  old  and  wishing  to  atone  for  his  sins,  vainly  tries  to  join  the  Order 
of  the  Grail,  but  without  avail.  In  revenge,  he  consults  an  Evil  Spirit  and  plots  to  bring 
about  the  downfall  of  the  Knights.  To  this  end  he  invokes  the  aid  of  a  company  of  sirens, 
half  •women  and  half  flowers,  called  flower  girls,  •who  dwell  in  a  magic  garden.  One  by  one 
the  Knights  have  fallen  from  grace  because  of  the  allurements  of  the  flower  maidens,  until 
Amfortas,  seeking  to  end  these  fatal  enchantments,  resolves  to  go  himself,  carrying  the  sacred 
Lance,  •which  he  is  confident  will  be  proof  against  the  magic  of  the  sirens.  But,  alas  !  he  is 
not  only  defeated,  but  is  wounded  by  the  sacred  Lance,  which  his  enemy  seizes  and  turns 
against  him,  making  a  wound  which  nothing  can  heal.  The  unhappy  Amfortas  returns  to  the 
Castle  •weighted  with  an  eternal  remorse  and  a  perpetual  agony  from  his  wound,  but  is  forced 
as  head  priest  to  continue  to  celebrate  the  Holy  Rites,  all  the  while  feeling  himself  unworthy. 
In  vain  he  seeks  far  and  wide  for  a  remedy  for  his  wound  and  forgiveness  for  his  sin,  until 
one  day  in  a  vision  he  hears  an  invisible  voice  proclaim  that  only  a  guileless  fool  (/.  e.,  one 
•who  is  ignorant  of  sin  and  who  can  resist  temptation),  and  whom  heavenly  messengers  will 

guide    to    Monsalvat,    will    be 
able  to  bring  him  relief. 

Amfortas  '  downfall  w  a  s 
brought  about  by  a  strange 
being,  Kundry,  who  seems 
to  have  two  natures.  She 
appears  alternately  as  a  de- 
voted servant  of  the  Grail,  and, 
when  under  the  magic  influ- 


ence of  Klingsor,  as  a  woman 
of  terrible  beauty,  who  lures 
to  their  ruin  all  Knights  •who 
come  within  her  power.  This 
cursed  existence  is  a  punish- 
ment for  a  crime  committed  in 
previous  existence,  when  as 
:  she  mocked  at  Christ 
on  the  cross. 


VICTOR     BOOK    OF    THE     OPERA-WAGNER'S     PARSIFAL 


CURNEMANZ    AND    THE    NOVICES ACT    I 


ACT  I 

SCENE  —  A  Forest  Near  Monsalvat 

The  rise  of  the  curtain  shows  Gumemanz,  a  veteran  Knight,  with  two  novices,  asleep. 
Trumpet  calls  from  the  Castle  awaken  them,  and  they  join  in  prayer,  afterward  preparing 
the  bath  with  which  Amfortas  seeks  to  heal  his  wound.  Messengers  from  the  Castle  report 
that  the  latest  balm  which  he  had  tried  failed  to  bring  relief.  Gumemanz  is  much  grieved, 
and  sinks  down  in  dejection,  until  he  is  roused  by  the  approach  of  Kundry,  who  comes  in 
hurriedly,  dressed  in  sombre  garments  and  in  her  normal  mind,  but  exhausted  with  fatigue. 
She  brings  a  new  remedy  which  she  had  sought  in  distant  Arabia.  When  Amfortas  arrives 
with  his  train  for  a  bath  in  the  sacred  lake,  the  new  balm  is  offered  to  him.  He  accepts  and 
thanks  the  strange-looking  woman  for  her  kindness.  When  the  procession  departs  the 
novices  attack  Kundry,  calling  her  a  sorceress,  but  she  is  defended  by  Gumemanz,  who  says 
she  is  devoted  to  the  King  but  is  subject  to  strange  spells,  during  which  she  vanishes  for 
long  periods. 


GURNEMANZ: 

Yea,  under  a  curse  she  may  have  been: 
Here   now's   her   home,  — 
Renewed  become, 

That  of  her  sins  she  may  be  shriven 
From  former  life  yet  unforgiven, 
Seeking  her  shrift  by  such  good  actions 
As  advantage  all  our  knightly  factions. 
Sure  she  does  well   in  working  thus: 
Serves  herself  and  also  us. 
NOVICE: 

Then  it  is  not  surely  her  fault 

So  much  distress  hath  come  to  us? 


GURNEMANZ: 

True,  when  she  often  stayed  afar  from  us 

Then  broke  misfortune  ever  in. 

I  long  have  known  her  now; 

But  Titurel  knew  her  yet  longer: 

When  he  yon  castle  consecrated, 

He  found  her  sleeping  in  this  wood, 

All  stiff,  rigid,  like  death. 

Thus  I  myself  did  find  her  lately, 

Tust  when  the  trouble  came  on  us 

Which  yonder  miscreant  beyond  the  mountain 

So  shamefully  did  bring  about, 


131 


VICTOR    BOOK    OF     THE     O  PE  RA— 'WAG  NER'S     PARSIFAL 


GURNEMANZ: 

Could'st  thou  do  murder 

Here  in  holy  forest? 

Why  harmed  thee  that  goodly  Swan? 

Suddenly  a  wild  swan  falls  wounded  at  the  feet 
of  Gurnemanz,  and  two  Knights  appear  dragging  the 
innocent  Parsifal,  who  had  shot  it,  not  knowing  it 
was  under  the  King's  protection.  He  is  reproached 
by  Gurnemanz  and  questioned,  but  can  tell  little  of 
himself.  He  remembers  that  his  mother  was  called 
Herzeleid  and  lived  in  a  forest.  Kundry,  whose  atten- 
tion is  attracted,  explains  that  the  youth's  father  was 
Gamuret,  and  after  his  death  in  battle  his  mother 
took  him  away  from  the  haunts  of  men  lest  he  meet 
the  same  fate.  She  is  now  dead,  and  Parsifal  is  a 
•wanderer. 

The  train  of  Amfortas  again  approaches,  returning 
from  the  lake.  Gurnemanz  invites  Parsifal  to  accom- 
pany them  to  the  Castle,  the  thought  having  occurred 
to  him  that  this  strange  youth  may  be  the  "  guileless 
fool "  who  is  to  be  the  means  of  Amfortas '  regeneration. 


VICTOR    BOOK    OF    THE    O  P  E  R  A— WAG  N  E  R'S     PARSIFAL 


GURNEMANZ: 

From  bathing  comes  the  King  again ; 

High   stands  the  sun  now: 

Let  me  to  the  holy  Feast  then  conduct  thee; 
.  For — an   thou'rt  pure, 

Surely  the   Grail   will  feed  and  refresh   thee. 

(He  has  gently  laid  Parsifal's  arm  on  his  own 
neck,  and,  supporting  his  body  with  his  arm, 
leads  him  slowly  along.) 
PARSIFAL:  What  is  the  Grail? 
GURNEMANZ:  I  may  not  say: 

Hut  if  to  serve  it  thou  be  bidden, 

Knowledge  of  it  will  not  be  hidden. 

And  lo! 

Methinks  I  know  thee  now  indeed: 

No  earthly  road  to  it  doth  lead, 

By  no  one  can  it  be  detected 

Who  by  itself  is  not  elected. 
PARSIFAL:    I  scarcely  move, — 

Yet  swiftly  seem  to  run. 
GURNEMANZ: 

My  son,  thou  seest 

Here  time  and  space  are  one. 

The  change  to  the  Castle  Hall  is  here  effected  by  a  moving  scene  behind  Gumemanz 
and  Parsifal,  so  that  they  seem  to  be  walking  slowly  along,  at  first  through  the  forest,  then 
into  a  covered  gallery  which  ascends  to  the  Castle.  This  effective  device  was  first  used  at 
Bayreuth,  and  afterward  in  the  American  representations. 


VICTOR     BOOK    OF    THE    OPERA— WAGNER'S    PARSIFAL 


THE    TEMPLE    OF    THE    GRAIL 


SCENE  II—  The  Castle  Hall 

The  two  suddenly  find  themselves  in  a  vast  hall,  filled  with  a  strange  light,  while  invis- 
ible bells  are  pealing.  Parsifal  is  dazzled  and  fascinated  by  the  wonderful  sight,  while  he 
is  carefully  watched  by  Qurnemanz,  who  hopes  to  see  signs  of  an  awakening  knowledge  of  his 
mission. 

In  the  hall  the  Knights  are  preparing  for  the  daily  rites  which  occur  before  the  Holy 
Grail.  Then  one  of  the  most  impressive  scenes  in  the  opera  takes  place.  The  unfortunate 
Amforias  is  brought  in  on  a  couch  and  prepares  to  preside  at  the  ceremony.  In  agony  of 
mind  and  body,  he  endeavors  to  postpone  the  rites,  but  the  voice  of  his  aged  father,  Titurel, 
is  heard  from  the  dark  chapel  commanding  him  to  proceed.  Amforias,  in  a  heart-breaking 
plea,  begs  Heaven  to  permit  him  to  die,  to  end  his  intolerable  sufferings. 

AMFORTAS: 

No!    Leave  it  unrevealed! 

May  no  one,   no  one  know  the  anguish   dire 

Awaked  in  me  by  that  which  raptures  ye! 

What  is  the  wound  and  all  its  torture  wild, 

'Gainst  the  distress,   the  pangs  of  Hell, 

In  this  high  post — accurst  to  dwell ! — 

Woeful  inheritance  on  me  pressed, 

I,   only  sinner  'mid  the  blessed, 

The  holy  house  to  guard  for  others 

And  pray  for  blessings  upon  my  purer  brothers! 

Oh,  chast'ning — chast'ning  dire!  descended 

From  the  Almighty  One  offended. 

For  grace  and  for  compassion  yearning 

My  panting  heart  is  riven. 

The  hot  and  sinful  blood  doth  surge, 


VICTOR    BOOK    OF    THE    O  P  E  R  A— W  AG  N  E  R'S    PARSIFAL 


Which  no  expiation  yet  can  purge 
Have  mercy!     Have  mercy! 
God  of  pity,  oh!  have  mercy! 

Tiiurel's  voice  is  again  heard,  urging  Amfortas  to  proceed,  and  the  pain-racked  priest 
raises  himself  from  the  couch  and  offers  the  prayer  of  consecration.  As  he  speaks  a  blind- 
ing ray  of  light  streams  down  from  the  vault  above  and  falls  on  the  Grail,  which  glows  with 
a  great  luster.  The  Cup  is  covered  and  all  partake  of  the  bread  and  wine,  after  which  they 
file  slowly  out.  During  the  ceremony  Parsifal  has  stood  fascinated,  but  with  impassive  face. 
Gumemanz,  finally  out  of  patience,  comes  up  and  thrusts  him  out,  saying : 

GURNEMANZ: 

Thou  art,  then,  nothing  but  a  fool! 
(He  opens  a  small  side  door.) 
Come  away,  on  thy  road  be  gone 
And  put  my  rede  to  use: 


And  seek  thyself,  gander,  a  goose! 
(He    pushes   Parsifal    out    and   slams   the    door 
angrily  on  him  as  the  curtain  falls.) 


VICTOR    BOOK    OF    THE     O  P  ER  A— WAG  N  E  R 'S     PARSIFAL 


COURT   OF    KL1NGSOR  S    CASTLE 


ACT  II 

SCENE— Klingsor's  Magic  Castle 

In  the  inner  keep  of  a  tower  open  above ;  stone  steps  lead  up  to  the  battlemented  sum- 
mit and  down  into  darkness  below  the  stage,  which  represents  the  rampart.  Magical 
implements  and  necromatic  appliances  are  seen.  Klingsor  is  discovered  sitting  at  one  side 
on  a  rampart  before  a  metal  mirror. 

KLINGSOR:  Lo!  how  my  magic  tow'r  entices 

The  time  has  come!  Yon  fool  who  neareth,  shouting  like  a  child; 

He  lights  incense,  which  immediately  fills  part  of  the  background  with  a  bluish  vapor. 
He  then  reseats  himself  and  calls  toward  the  depth  with  mysterious  gestures : 
KLINGSOR:  Herodias  wert  thou,  and  what  else? 

Arise!     Draw  near  to  me!  Gundryggia   there,   Kundry  here: 

Thy  master  calls  thee,  nameless  woman:  Approach!    Approach  then,  Kundry! 

She-Lucifer!     Rose  of  Hades!  Thy  master  calls — appear! 

In  the  bluish  light  arises  the  form  of  Kundry.  She  is  heard  to  utter  a  dreadful  cry,  as  if 
half  awakened  from  a  deep  sleep.  She  tries  to  resist  him,  but  Klingsor's  power  over  her  finally 
prevails.  He  tells  her  she  must  tempt  Parsifal,  who  is  now  approaching  the  Castle  of  Klingsor. 


KLINGSOR   (wrathfully)  : 
Have  a  care! 

One   his  contempt   and  scorn   hath   repented; 
The  stern  one,   strong  in  holiness, 
By  whom  I  once  was  spurned 
His  stock  I've  ruined: 

Unredeemed  shall  the  Relics'  curator  soon  lan- 
guish; 

And  soon — I  feel  it — 
I    shall   possess  the   Grail. 

How  suited  thy  taste   Amfortas  the  brave, 
Whom  to  thee  in  rapture  I  gave? 


KUNDRY:  Oh! — Mis'ry — Mis'ry! 

Weak  e'en  he!  Weak— all  men! 

By  my  curse  and  with  me 

All  of  them  perish! 

Oh,  unending  sleep, 

Only  release, 

When — when  shall  I  win  thee? 
KLINGSOR: 

Ha!     He  who   spurns  thee  setteth  thee 

So  try't  with  yon  boy  who  draws  near 
KUNDRY:  Oh  woe's  me!  woe's  me! 

Awakened  I  for  this? 

Must  I — must? 


free; 


VICTOR    BOOK     OF     THE     OPERA  — WAGNER 'S    PARSIFAL 


With  a  last  cry  of  protest  and  an- 
guish she  vanishes  in  a  bluish  mist.  The 
tower  sinks  beneath  the  earth,  while  a 
magic  garden  filled  with  wonderful 
flowers  and  plants  rises  to  take  its  place. 
On  the  wall  stands  Parsifal,  looking 
down  on  the  garden  in  astonishment. 
From  all  sides,  from  the  garden  and 
from  the  palace,  rush  in  mazy  courses 
lovely  damsels,  first  singly  and  then  in 
numbers ;  their  dress  is  hastily  thrown 
about  them,  as  if  they  had  been  sud- 
denly startled  from  sleep.  They  have 
discovered  that  several  of  their  lovers 
have  been  slain  by  an  unknown  foe,  and 
seeing  Parsifal,  they  accuse  him  of  the 
deed.  Parsifal  comes  nearer,  saying 
innocently : 

PARSIFAL   (in  great  astonishment): 

Lovely  maidens,  had  I  not  to  slay  them. 
When     they    endeavored    to    check    ap- 
proach to  your  charms? 
DAMSELS:  To  us  earnest  thou? 
PARSIFAL: 

I've  seen  nowhere  yet  beings  so  bright: 
If  I  said  fair,  would  it  seem  right? 
DAMSELS   (with  merriment) : 

Then  wilt  thou  not  treat  us  badly? 
PARSIFAL  (smiling) : 

I  could  not  so. 
DAMSELS: 
Hut  sadly 

What  thou  hast  done  has  annoyed  us; 
Our  playmates  thou  hast  destroyed  us: 
Who'll  sport  with  us  now? 


KLINGSOR     CO 


PARSIFAL  AND  THE   FLOWER    MAIDENS       (HENRY    W.    SAVAGE   PRODUCTION) 

327 


VICTOR    BOOK    OF    THE    O  PE  R  A— WAG  N  E  R 'S    PARSIFAL 


"But  Parsifal 

gentle  gestures." — Act  II 


DAMSELS  (laughing): 

If  thou  are  friendly  come  more  nigh. 

Let  kindness  be  accorded, 

And  thou  shalt  be  rewarded: 

For  gold  we  do  not  play 

But  only  for  love's  sweet  pay. 

Wouldst  thou  console  us  rightly 

Then  win  it  from  us,  and  lightly. 

Some  have  gone  into  the  groves 
and  now  return  in  flower  dresses,  ap- 
pearing like  flowers  themselves.  They 
playfully  quarrel  for  possession  of  Par- 
sifal, who  stands  looking  about  him  in 
quiet  enjoyment  of  the  scene.  He 
finally  gently  repulses  them,  saying  : 

PARSIFAL: 

Ye  wild  crowd  of  beautiful  flowers, 
If   I    am   to   play,    ye   must   widen   your 
bowers. 

As  they  push  closer  to  him  he 
becomes  angry  and  tries  to  flee,  but  his 
attention  is  suddenly  arrested  as  Kundr$ 
calls,  "  Parsifal,  tarry !  "  He  stops  in 
astonishment,  saying : 

PARSIFAL: 

Parsifal     .     .     .? 

So    once,    when    dreaming,    my    mother 

called  me. 
KUNDRY'S  VOICE: 

Here  bide  thee,  Parsifal! 

Where   joy   and   gladness   on   thee    shall 

fall. 
Ye     frivolous     wantons,     leave     him     in 

peace: 

Flow'rs  soon  to  be  faded, 
He  came  not  here  for  your  delight! 
Go  home,  tend  the  wounded: 
Lonely  awaits  you  many  a  knight. 


With  gentle  gestures." — Act  11.  .Lonely  awaits  you  many  a  Kmgnt. 

Gently  laughing,  they  disappear  into  the  Castle.      The   form  of  Kundry  now  becomes 
isible  as  a  woman  of  exquisite  beauty,  reclining  on  a  flowery  couch. 


PARSIFAL: 

What    callest    thou    m< 
KUNDRY: 

I    named    thee,    foolisl 


vho  am  nameless? 

ure  one,   "Fal  parsi," — 


Thou,  guileless  fool,  art  "Parsifal. 
So  cried,  when  in  Arabia's  land  he 
Thy  father,  Gamuret,  unto  his  son. 


expired, 


Ich  sah'  das  Kind     (I  Saw  the  Child) 

By  Margarete  Matzenauer,  Mezzo-Soprano  In  German     88364 
Tenderly  gazing  at  the  now  attentive  youth,  she  begins,  softly  : 


KUNDRY  : 

I   saw  the   child  upon   its  mother's  breast; 
Its  infant  lisping  laughs  yet  in  my  ear: 

Though  filled  with  sadness, 
How  laughed  then  even  Heart's  Affliction, 

When,   shouting  gladness, 
It  gave  her  sorrow's  contradiction! 
In  beds  of  moss  'twas  softly  nested, 
She  kissed  it  till  in  sleep  it  rested: 

With  care  and  sorrow 
The  timid  mother  watched  it  sleeping; 

It  waked  the  morrow 
Beneath  the  dew  of  mother's  weeping. 
All  tears  was  she,  encased  in  anguish, 
Caused  by  thy  father's  death  and  love: 


12-inch,     $3.00 


t  la 


That  through  like  hap  thou  shouldst 

guish, 

Became  her  care  all  else  above. 
Afar  from  arms,  from  mortal  strife  and  riot, 
Sought  she  to  hide  away  with  thee  in  quiet. 
All  care  was  she,  alas!  and  fearing: 
Never   should  aught  of  knowledge   reach   thy 

hearing. 

Hear'st  thou  not  still  her  lamenting  voice, 
When  far  and  late  thou  didst  roam? 
For  days  and  nights  she  waited, 
And  then  her  cries  abated; 
Her  pain  was  dulled  of  its  smart, 
And  gently  ebbed  life's  tide; 
The  anguish  broke  her  heart, 
And  —  Heart's    Affliction  —  died. 


Mme.  Matzenauer,  whose  Kundry  is  one  of  her  greatest  impersonations,  sings  this  number 
•with  exquisite  tenderness  and  great  beauty  of  voice. 


VICTOR    BOOK     OF    THE     O  P  E  R  A— W  AG  NE  R1  S     PARSIFAL 


Parsifal  is  greatly  affected  and  sinks  at  Kundry's 
feet,  distressed.  She  embraces  him  tenderly  and  tries 
to  comfort  him,  while  he  seems  to  imagine  that  it  is 
again  his  mother  whose  gentle  embraces  he  is  receiv- 
ing. As  she  gives  him  the  kiss  which  is  to  complete 
his  subjection  he  awakes  to  a  knowledge  of  his  mis- 
sion, realizes  Kundry's  evil  purpose  and  repulses  her 
with  scorn.  She  pleads  with  him,  playing  on  his 
sympathies  : 

KUNDRY  : 

Let  me  upon  thy  breast  lie  sobbing, 
Hut  for  one  hour  together  throbbing; 
Though  forced  from  God  and  man  to  flee, 
Be  yet  redeemed  and  pardoned  by  thee! 

PARSIFAL: 

Eternally  should  I  be  damned  with  thee, 

If  for  one  hour  I  forgot  my  holy  mission, 

Within  thy  arm's  embracing! — 

To  thy  help  also  am  I  sent, 

If  of  thy  cravings  thou  repent. 

The  solace,  which  shall  end  thy  sorrow, 

Yields  not  that  spring  from  which  it  flows: 

Till  that  same  spring  in  thee  shall  close. 

Finally,  enraged  by  his  refusal,  she  calls  for  help. 
Fearing  that  he  will  es- 
cape, Klingsor  and  the 
flower  maidens  rush  out 
of  the  Castle. 


KLINGSOR  (poising  a  lance) : 

Halt  there!    I'll  ban  thee  with  befitting  gear: 
The  Fool  shall  perish  by  his  Master's  spear! 

He  flings  the  spear  at  Parsifal,  but  an  invisible  force  stops 
it  and  it  remains  floating  over  his  head.  Parsifal  grasps  it  with 
his  hand  and  brandishes  it  with  a  gesture  of  exalted  rapture, 
making  the  sign  of  the  Cross  with  it. 

PARSIFAL: 

This  sign  I  make,  and  ban  thy  cursed  magic: 
As  the  wound  shall  be  closed, 
Which  thou  with  this  once  clovest, — 
To  wrack  and  to  ruin 
Falls  thy  unreal  display! 


As  with  an  earthquake 
the  Castle  falls  to  ruins,  the 
garden  withers  up  to  a  desert, 
the  damsels  become  shriveled 
flowers  strewn  around  on  the 
ground. 

Kundry  sinks  down  at  Par- 
sifal's feet,  while  the  hero,  gaz- 
ing at  her  with  compassion, 
and  referring  to  the  Holy  Grail, 
where  true  salvation  can  alone 
be  found,  cries : 

PARSIFAL: 

Thou  know'st — 
Where  only  we  shall  meet 
again! 

(He  disappears,  and  the 
curtain  falls  quickly.) 


KLINGSOR    HURLING    THE    SACRED    LANCE 


VICTOR    BOOK    OF    THE     OP  ERA— WAG  N  ER'S    PARSIFAL 


ACT  III 

SCENE — A  spring  landscape  in  the  grounds  of  Monsaloat.      At  the  bac^  a  small  hermitage 

Gumemanz,  now  an  aged  man,  in  hermit's  dress  but  still  wearing  the  tunic  of  a  Knight  of 
the  Grail,  comes  out  of  the  hut  and  listens.  He  then  goes  to  a  thicket  and  finds  Kundry 
apparently  lifeless,  but  she  revives  under  his  ministrations.  She  is  dressed  as  in  Act  I,  and 
soon  arises  and  goes  immediately,  like  a  serving  maid,  to  work.  She  enters  the  hut,  pro- 
cures a  water  jug  which  she  fills  at  the  spring.  Gurnemanz  watches  her  carefully,  seeing  signs 
of  a  change  in  her.  Parsifal  now  enters  from  the  wood  in  complete  armor  and  seats  himself. 
Gurnemanz,  not  recognizing  him,  reminds  him  that  no  armed  knight  is  allowed  in  the  sacred 
premises,  and  especially  on  this  day,  Good  Friday.  Without  saying  a  word,  Parsifal  rises, 
removes  his  helmet,  and  kneels  down  in  silent  prayer.  Gurnemanz  in  surprise,  says  softly 
to  Kundry  : 


GURNEMANZ: 

Dost  know  who  'tis?     .     .     . 

He  who  long  since  laid  low  the  swan. 

(Kundrv  confirms  him  by  a  slight  nod.) 

For  sure  'tis  he! 

The  fool  whom  in  anger  I  dismissed. 


Ha !  by  what  path  aye  came  he  ? 

That  Spear — I  recognize! 

(In   great  emotion.) 

Oh! — holiest  day, 

To  which  my  happy  soul  awakes! 

(Kundry  has  turned  away  her  face.) 


Parsifal  rises  slowly  from  his  prayer,   gazes  calmly  around,   recognizes  Gurnemanz,   and 
stretches  out  his  hand  to  him  in  greeting. 


PARSIFAL: 
Thank  He; 


en  that  I  again  have  found  thee! 
330 


VICTOR    BOOK     OF    THE     O  P  E  R  A— W  A  G  N  E  R'S  PARSIFAL 

Gurnemanz  questions  him  and  is  confirmed  in  his  belief  that  this  is  the  one  who  is  to 

redeem  the  sins  of  the  Grail  brotherhood.     He    tells  Parsifal  of  the  sad  state  of  affairs  at 
the  Castle. 


GURNEMANZ: 

Here  art  thou,  in  the  Grail's  domain; 

Here  waits  for  thee  the  knightly  band. 

Ah,  how  they  need  the  blessing, 

The  blessing  that  thou  bring'st! — 

Since  that  first  day  in  which  thou  earnest  here, 

The  mourning  which  thou  heardest  then — 

The  anguish — sorely  has  increased. 

Amfortas,   struggling  with  his  torture, 

With  the  wound  that  tore  his  spirit, 

Desired  with  reckless  daring  then  his  death: 

No  pray'rs,  no  sorrow  of  his  comrades 

Could  move  him  to  fulfill  his  holy  office. 

Pale,  dejected  stays  around 

The     crushed     and      leader-lacking     band      of 

knights. 

Here  on  the  woodside  lone  I  hid  myself, 
For  death  with  calmness  waiting, 


He  is  on  the  point  of  falling,  help- 
lessly. Gurnemanz  supports  him  and  al- 
lows him  to  sink  down  on  the  grassy 
knoll.  Kundry  has  brought  a  basin  of 
•water  with  which  to  sprinkle  Parsifal, 
but  Qurnemanz  waves  her  away,  saying 
that  holy  water  alone  must  be  used  for 
his  anointment. 

Parsifal  asks  to  be  guided  to  Am- 
fortas, and  Gurnemanz  and  Kundry  busy 
themselves  in  preparing  him  for  the  or- 
deal. Kundry  bathes  his  feet  and  dries 
them  on  her  hair.  Parsifal  asks  Gurne- 
manz, who  by  his  pure  life  has  become 
•worthy  of  this  office,  to  anoint  him  with 
the  -water  of  purification  and  the  con- 
tents of  the  golden  vial  which  Kundry 
produces  from  her  bosom.  Gurnemanz 
consents,  and  bestows  on  Parsifal  the 
title  of  Prince  and  King  of  the  Grail. 
Parsifal  now  looks  at  Kundry  with  deep 
compassion,  and  taking  up  some  water 
sprinkles  her  head,  saying  : 


PARSIFAL: 

I  first  fulfill  my  duty  thus: — 
Be  thou   baptized, 
And  trust  in  the   Redeemer! 
(Kundry   bows   her  head   to   the  earth 
and  appears  to  weep  bitterly.) 

PARSIFAL    (turns    round    and    gases    with    gentle 

rapture  on  the  woods  and  meadows): 
How  fair  the  woods  and  meadows  seem  to-day! 
Many  a  mapic  flow'r  I've  seen. 
Which   sought  to  clasp  me  in  its  baneful  twin- 
But  none  I've  seen  so  sweet  as  here, 
These  tendrils  bursting  with  blossom, 
Whose  scent  recalls  my  childhood  s  days 
And  speaks  of  loving  trust  to  me. 


To  which  my  old  commander  has  succumbed; 

For  Titurel,  my  cherished  chief. 

When   he  no  more  beheld  the  Grail's  reful- 

f  ence. 
Expired, — a  man  like  others! 

PARSIFAL  (flinging  up  his  arms  in  intense  grief) : 
And  I — I  'tis, 

Who  all  this  woe  have  wrought! 
Ha!  what  a  grievous, 
What  a  heinous  guilt 
Must  then  my  foolish  head 

If  no  atonement,  expiation 

My  blindness  e'er  can  banish! 

I,  who  to  save  men  was  selected, 

Must  wander  undirected; 

All   paths  of   safety   from  me  vanish! 


GURNEMANZ: 

That  is  Good  Friday's  spell,  my  lord! 

PARSIFAL: 

Alas,  that  day  of  agony! 
Now  surely  everything  that  thrives. 
That  breathes  and  lives  and  lives  again, 
Should  only  mourn  and  sorrow? 


Gurnemanz  explains  that  this  beauty  of  the  woods  and  fields  is  caused  by  the  spell  of 
Good  Friday,  and  that  the  flowers  and  trees,  watered  by  the  tears  of  repentant  sinners, 
express  by  their  luxuriousness  the  redemption  of  man. 


VICTOR    BOOK    OF    THE    O  P  E  R  A— WAG  N  E  R'S    PARSIFAL 


PARSIFAL,    KUNDRY    AND    GURNEMANZ     ENTERING    THE    CASTLE ACT 


WITHERSPOON    AS    GURNEMAN2 


Char-Freitags  Zauber     (Good 
Friday  Spell) 

By  Herbert  Witherspoon,  Bass 

In  Qerman     74144     12-inch,     $1.50 

GURNEMANZ:     Thou  see'st,  that  is  not  so. 

The  sad  repentant  tears  of  sinners 

Have  here  with  holy  rain 

Besprinkled  field  and  plain, 

And  made  them  glow  with  beauty. 

All  earthly  creatures  in  delight 

At  the  Redeemer's  trace  so  bright 

Uplift  their  pray'rs  of  duty. 

To  see  Him  on  the  Cross  they  have  no  power: 

And  so  they  smile  upon  redeemed  man, 

Who,  feeling  freed,  with  dread  no  more  doth 
cower, 

Through  God's  love-sacrifice  made  clean  and 
pure: 

And  now  perceives  each  blade  and  meadow- 
flower 

That  mortal  foot  to-day  it  need  not  dread; 

For,  as  the  Lord  in  pity  man  did  spare, 

And  in  His  mercy  for  him  bled, 

All  men  will  keep,  with  pious  care, 

To-day  a  tender  tread. 

Then  thanks  the  whole  creation  makes, 

With  all  that  flow'rs  and  fast  goes  hence, 

That  trespass-pardoned  Nature  wakes 

Now  to  her  day  of  Innocence. 


VICTOR  BOOK  OF  THE  O  PER  A— WAG  N  E  R'S  PARSIFAL 


Kundry  has   slowly   raised   her    head  again,  and   gazes   with    moist   eyes,  earnestly  and 
calmly  beseeching  up  at  Parsifal. 


PARSIFAL: 

I  saw  my  scornful  mockers  wither: 
Now  look  they  for  forgiveness  hither? — 


Like  blessed  sweet  dew  a  tear  from  thee  foo 

floweth : 

Thou   weepest — see!    the  landscape   gloweth. 
(He  kisses  her  softly  on  the  brow.) 


Distant  bells  are  heard  pealing,  very  gradually  swelling. 

GURNEMANZ: 
Mid-day. 

The  hour  has  come: — 

Permit,  my  lord,  thy  servant  hence  to  lead 
thee! 

Gurnemanz  has  brought  out  a  coat-of-mail  and  mantle  of  the  Knights  of  the  Grail,  which 
he  and  Kundry  put  on  Parsifal.  The  landscape  changes  very  gradually,  as  in  the  first  act. 
Parsifal  solemnly  grasps  the  Spear,  and,  with  Kundry,  follows  the  conducting  Gurnemanz. 
When  the  wood  has  disappeared  and  rocky  entrances  have  presented  themselves  in  which 
the  three  become  invisible,  processions  of  Knights  in  mourning  garb  are  perceived  in  the 
arched  passages,  the  pealing  of  bells  ever  increasing.  At  last  the  whole  immense  hall 
becomes  visible,  just  as  in  the  first  act,  only  without  the  tables.  There  is  a  faint  light.  The 
doors  open  again,  and  from  one  side 
the  Knights  bear  in  Titurel 's  corpse  in  a 
coffin.  From  the  other  Amfortas  is  carried 
on  in  his  litter,  preceded  by  the  covered 
shrine  of  the  Grail.  The  bier  is  erected 
in  the  middle;  behind  it  the  throne 
with  canopy  where  Amfortas  is  set  down. 

FIRST  TRAIN  (with  the  Grail  and 
Amfortas)  : 

To  sacred  place  in  sheltering  shrine 

The  Holy  Grail  do  we  carry; 

What  hide  ye  there  in  gloomy  shrine, 

Which  hither  mourning  ye  bear? 
SECOND  TRAIN   (with  Titurel's  coffin) : 

A  hero  lies  in  this  dismal  shrine 

With  all   this   Heavenly  strength, 

To  whom  all  things  once  God  did 
entrust : 

Titurel  hither  we  bear. 

Sorrow!  Sorrow!  Thou  guard  of  the 
Grail! 

Be  once  more  only 

Warned  of  thy  duty  to  all. 
AMFORTAS    (raising   himself   on   his   couch 
and  turning  to  the  body)  : 

My   father! 

Highest  venerated  hero! 


Thou    purest,    to    whom    once 
angels  blended! 


the 


Oh!  thou  who  now  in  Heavenly  heights 

Dost  behold  the  Saviour's  self, 

Implore    Him    to    grant    that    His    hal 
lowed  blood, 

He  pour  upon  these  brothers. 

To  them  new  life  while  giving, 

To  me  may  offer — but  Death! 

My  father!     I— call  thee. 

Cry  thou  my  words  to  Him:  ^  «CH 

"Redeemer,  give  to  my  son  release! 
SEVERAL   KNIGHTS    (pressing   toward   Am- 
fortas) : 

Uncover  the   shrine! 

Do  thou  thine  office! 

Thy  father  demands  it; 

Thou  must,  thou  must! 
AMFORTAS     (in     a    paroxysm     of    despair 
springs   up   and   throws   himself   amid 
the  Knights,  who  draw  back) : 


AMFORTAS 


No! — No  more! 

I  bid  ye  to  slay  me! 

(Tears  open  his  dress.) 

Behold  me! — the  open  wound  behold! 

Here      is      my      poison — my      streaming 

blood. 

Take  up  your  weapons! 
Kill  both  the  sinner  and  all  his  pain: 
The  Grail's  delight  will  ye  then  regain! 


VICTOR    BOOK    OF    THE    O  P  E  R  A— W  AG  N  E  R'S    PARSIFAL 


All  have  shrunk  back  in  awe  and  Amfortas  stands  alone  in  fearful  ecstasy.  Parsifal, 
accompanied  by  Gurnemanz  and  Kundry,  has  entered  unperceived,  and  now  advancing, 
stretches  out  the  Spear,  touching  Amfortas'  side  with  the  point. 

PARSIFAL: 

One  weapon  only  serves:  — 

The  one  that  struck 

Can  staunch  thy  wounded  side. 

Amfortas'  countenance  shines  with  holy  rapture,  and  he  totters  with  emotion,  Gurnemanz 
supporting  him.  PARSTFAL: 

Be  whole,  unsullied  and  absolved! 

For  I  now  govern  in  thy  place. 

Oh,  blessed  by  thy  sorrows, 

For  Pity's  potent  might 

And  Knowledge's  purest  power 

They  taught  a  timid  Fool. 

The  holy  Spear  — 

Once  more  behold  in  this. 

All  gaze  with  intense  rapture  on  the  Spear  which  Parsifal  holds  aloft,  while  he  looks 
steadfastly  at  its  point  and  continues  : 


Oh,   mighty  miracl 

This  that  through  me  thy  wound  restoreth. 

With  holy  blood  behold  it  poureth. 


of  bliss  I—- 
wo 
po 


VICTOR    BOOK    OF    THE     O  P  E  R  A— W  A  G  N  ER'S     PARSIFAL 


Which  yearns  to  join  the  fountain  glowing. 

Whose  pure  tide  in  the  Grail  is  flowing! 

Hid  be  no  more  that  shape  divine: 

Uncover  the  Grail!  Open  the  shrine! 
The  boys  open  the  shrine  and  Parsifal  takes 
from  it  the  Grail  and  kneels,  absorbed  in  its  con- 
templation, silently  praying.  The  Grail  glows  with 
light,  and  a  halo  of  glory  pours  down  over  all. 
Titurel,  for  the  moment  reanimated,  raises  himself 
in  benediction  in  his  coffin.  From  the  dome  de- 
scends a  white  dove  and  hovers  over  Parsifal's 
head.  He  waves  the  Grail  gently  to  and  fro  before 
the  upgazing  Knights.  Kundry,  looking  up  at  Par- 
sifal, sinks  slowly  to  the  ground,  dead.  Amfortas 
and  Gurnemanz  do  homage  on  their  knees  to 
Parsifal. 

ALL    (.with  voices  from   the   middle   and  extreme 

heights,  so  soft  as  to  be  scarcely  audible)  : 
Wond'rous  work  of  mercy: 
Salvation  to  the  Saviour! 

(The  curtain  falls.) 


MISCELLANEOUS    PARSIFAL   RECORDS 
Processional  of  the  Knights  of  the  Holy  Grail 

By  Arthur  Pryor's  Band  31735     12-inch,     $1.00 

Parsifal  Fantasia  (including  the  following  motives) 

"The  Eucharist" — "The  Flower  Maidens" — "The  Grail" 

By  Arthur  Pryor's  Band     31242     12-inch,     $1.0O 


"Then    suddenly    the    heavenly   splendor   fell 
And   flamed   and   glowed   within   the   sacred 


SCENE    FROM    PATIENCE 


PATIENCE,  OR  BUNTHORNE'S  BRIDE 

COMIC  OPERA  IN  TWO  ACTS 

Libretto  by  W.  S.  Gilbert ;  music  by  Sir  Arthur  Sullivan.  First  produced  at  the  Opera 
Comique,  London,  April  23,  1881.  First  American  production  at  the  Standard  Theatre,  New 
York,  September  23,  1881.  It  was  revived  at  the  Herald  Square  Theatre  in  1896;  at  the 
American  Theatre,  in  1900,  by  the  Castle  Square  Opera  Company;  and  quite  recently  at  the 
Lyric  Theatre  in  New  York. 

Characters 
With  the  Original  American  Cast 

REGINALD  BUNTHORNE,  a  fleshly  poet Wm.  White 

ARCHIBALD  GROSVENOR,  an  idyllic  poet James  B.  Key 

LADY  ANGELA,  i  Alice  Burville 

LADY  SAPHIR,  ID      t  .  ,  Rose  Chapelle 

LADY  ELLA.      KaPturous  maidens Jennie  Stone 

LADY  JANE,     J  Augusta  Roche 

PATIENCE,  a  dairy  maid Carrie  Burton 

COLONEL  CALVERLY,          )  f  Wm.  T.  Carleton 

MAJOR  MURGATROYD,        ^Officers  of  the  Dragoon  Guards<  Arthur  Wilkinson 

LIEUTENANT  DUNSTABLE.J  1    A.  Cadwallader 

Guards,  Esthetic  Maidens. 


Time  and  Place  :    Castle  Bunthorne  ;   the  last  century. 


Patience  is  Gilbert's  famous  satire  on  the  esthetic  craze  of  the  early  80' s,  set  to  some  of 
the  most  delightful  of  all  Sullivan's  music.  This  absurd  school  of  estheticism,  represented 
by  Oscar  Wilde  and  his  imitators,  did  not  long  survive  the  witty  ridicule  which  Gilbert 
aimed  at  it,  and  soon  disappeared.  The  opera  was  one  of  the  most  successful  of  the  Gilbert 
and  Sullivan  series,  and  well  deserved  its  great  vogue. 

In  the  first  act  twenty  love-sick  maidens  are  sighing,  and  singing  plaintively  of  their  love 
for  Bunthorne.  Patience,  a  buxom  milkmaid,  appears  and  ridicules  them,  telling  them  the 


C  T  O  R 


OOK     OF     THE      OPER  A  — P  A  T  I  E  N  C  E 


Dragoon  Guards  are  expected  shortly;  but  though  the  maidens  doted  upon  the  Dragoons  a 
year  ago  they  scorn  them  now.  The  Guards  arrive,  also  Bunthorne,  followed  by  the  fair  twenty, 
•who  pay  no  attention  •whatever  to  the  Dragoons  but  follow  the  poet,  listening  to  his  latest  crea- 
tion, whereupon  the  Dragoons  leave  in  a  rage.  When  alone  Bunthorne  confesses  to  himself 
that  he  is  a  sham.  Patience  appears,  and  the  poet  immediately  makes  love  to  her,  but  she 
is  frightened  and  runs  to  Lady  Angela,  who  tells  her  it  is  her  duty  to  love  some  one.  Patience 
thereupon  declares  she  will  not  allow  the  day  to  go  by  without  falling  in  love. 

Grosvenor,  the  idyllic  poet,  and  an  old  playmate  of  Patience,  enters,  and  she  promptly  falls 
in  love  with  him,  but  he  remains  indifferent.  Bunthorne,  twined  •with  garlands,  enters,  led  by 
the  maidens,  and,  unable  to  decide  between  them,  puts  himself  up  as  the  prize  in  a  lottery, 
but  Patience  interrupts  the  drawing  and  announces  that  she  will  be  his  wife.  She  is 
promptly  accepted,  •whereupon  the  fickle  maidens  transfer  their  affections  to  Grosvenor.  This 
does  not  please  Bunthorne,  and  he  predicts  that  his  rival  shall  "  meet  a  horrible  doom." 

In  the  opening  of  the  second  act  we  see  a  rather  ancient  damsel,  Jane,  mourning  because 
of  the  maidens'  desertion  of  Bunthorne,  who  is  content  with  a  milkmaid.  Grosvenor  enters, 
followed  by  Patience,  •who  tells  him  that  she  still  loves  him  but  that  her  duty  is  toward  Bun- 
thorne. Bunthorne  enters  with  Jane  clinging  to  him  in  spite  of  all  his  efforts  to  get  rid  of  her. 
Finally,  in  a  jealous  rage  at  Patience's  regard  for  the  fleshly  poet,  he  exits  with  Jane. 
Now  the  maidens  are  beginning  to  make  advances  to  the  Dragoons,  and  the  poets  begin  to 
quarrel  with  each  other.  Bunthorne  asks  Grosvenor  how  to  make  himself  less  attractive,  and 
is  told  to  dress  himself  in  a  more  commonplace  manner.  When  the  maidens  find  he  has 
given  up  esthetics  they  declare  they  •will  do  likewise.  Patience  deserts  Bunthorne  for  Grosvenor, 
the  maidens  find  suitors  among  the  Dragoons,  and  Jane  goes  over  to  the  Dul^e,  leaving 
Bunthorne  lonely  and  disconsolate. 

The  Opera  Company  has  given  us  a  splendid  medley  of  the  airs  of  this  delightful  opera, 
no  less  than  six  of  the  most  interesting  numbers,  in  abbreviated  form,  being  included. 

Gems  from.  Patience 

Chorus,   "  Twenty  Love-Sick  Maidens  We"  —  Male  Chorus,  "  The  Soldiers 
of  Our  Queen"  —  Solo,  "Love  is  a  Plaintive  Song"  —  Solo  and  Chorus,    "A 
Most  Intense  Young  Man"  — Sextet,   "I  Hear  the  Soft  Note"  —  Finale,    "Oh, 
List  While  We  Our  Love  Confess." 
By  the  Victor  Light  Opera  Company  31816     12-inch,     $1.OO 


BUNTHORNE    AND  THE   LI 

337 


(Italian) 

PESCATORI  DI  PERLE 

(Pes-kah-toH -r 


(English) 

PEARL  FISHERS 


dee  Pear'-leh) 

OPERA  IN  THREE  ACTS 

Text  by  Carre  and  Cormon.  Music  by  Georges  Bizet.  First  production  at  the  Theatre 
Lyrique,  Paris,  September  29,  1863.  First  London  production,  entitled  "Leila,"  at  Covent 
Garden,  April  22,  1887;  and  as  Pescatori  di  Perle,  May  18,  1889.  First  New  York  production 
January  11,  1896. 

Characters 

LEILA,  a  priestess Soprano 

NADIR,  a  pearl  fisher Tenor 

ZURGA,  a  chief Baritone 

NOURABAD,  high  priest Bass 

Priests,  Priestesses,  Pearl  Fishers,  Women,  etc. 


Scene  and  Period  :  Ceylon  ;  barbaric  period. 


Les  Pecheurs  de  Perles,  one  of  Bizet's  earlier  operas  and  the  first  one  to  achieve  success, 
is  a  work  dealing  with  an  Oriental  subject,  and  contains  much  music  of  charm  and  original- 
ity, showing  traces  of  that  dramatic  force  which  reached  its  full  development  in  Carmen. 
The  character  of  the  music,  less  passionate  and  highly 
colored  than  Carmen,  is  yet  equally  original  and  of  even 
more  striking  beauty. 

The  story  tells  of  the  love  of  two  Cingalese  pearl 
fishers  for  the  priestess  Leila,  and  of  the  generosity  of 
the  unsuccessful  rival,  who  helps  the  lovers  to  escape 
at  the  cost  of  his  own  life. 

THE   PRELUDE 

The  prelude  is  a  most  beautiful  number,  and  con- 
sidered one  of  the  finest  of  Bizet's  instrumental 
writings. 

Preludio  (Prelude) 

By  La  Scala  Orchestra      *621OO  lO-inch,  IO.75 

ACT  I 
SCENE—  The  Coast  of  Ceylon 

The  rise  of  the  curtain  discloses  a  company  of 
Cingalese  pearl  fishers,  who,  after  choosing  one  of  their 
number,  Zurga,  to  be  their  chief,  are  enjoying  themselves 
with  games  and  dances.  Nadir  appears  and  Zurga 
recognizes  him  as  a  friend  of  his  youth.  They  greet 
each  other  and  speak  of  the  days  when  they  were 
rivals  for  the  hand  of  a  beautiful  woman.  Nadir,  be- 
ginning the  duet,  recalls  the  moment  when  the 

friends   first  beheld  the  lovely  Leila.  DUFRANNE  AS  ZURGA 

(Italian)  (French) 

Del  tempio  al  limitar  ( Au  fond  du  temple  saint) 

(English) 

(In  the  Depths  of  the  Temple) 


By  Enrico  Caruso,  Tenor,  and  Mario  Ancona,  Baritone 

(In  Italian) 

By  Giorgini  and  Federici  (In  Italian) 

By  Clement,  Tenor,  and  Journet,  Bass  (In  French) 

By  John  McCormack  and  G.  Mario  Sammarco  (Italian) 


By  Giuseppe  Acerbi  and  Renzo  Minolfi 


89007 
88319 
76022 
87082 
(In  Italian)  *68O63 


12-inch,  $4.OO 
12-inch,  3.00 
12-inch.  2.0O 
lO-inch,  2.OO 
12-inch,  1,25 


*Double.FaceJ  Record— For  title  of  opposite  aide  see  DOUBLE-FA  CED  PEARL  FISHERS  RECORDS,  page  34 1 . 

338 


VICTOR    BOOK    OF     THE     OPERA— BIZET'S     PEARL    FISHERS 


In  an  impr 


strain  he  describes  the  scene  within  the  Temple  of  Brahma  : 


NADIR: 

In  the  depths  of  the  temple 

A  lovely   form   we  beheld, 

That  form   I  still  can  see! 
ZURGA: 

'Twas  a   vision   of  beauty! 
NADIR: 

The    kneeling    worshipers,    astonished, 

Now   murmur,    "The    goddess   comes!" 
ZURGA: 

She   descends   from   the   altar 

And,  moving  near  to  us 


Lifts  her  veil,  revealing 

With  its  beauty  ethereal! 
NADIR: 

But  now  her  veil   she  drops 

And,    passing    through    the    wandering   crowd 

She   disappears. 

Now  a   strange   emotion   overpowers   me, 

I   fear  to  touch  thy  hand. 

ZURGA: 

A  fatal  love  both  our  souls  possess. 


They  speak  of  their  sudden  realization  of  the  fact  that  they  had  both  fallen  in  love  at 
sight  with  the  priestess,  and  fearing  their  friendship  was  in  danger,  they  swore  never  to  see 
her  again.  The  comrades,  now  pronouncing  themselves  entirely  cured  of  their  infatuation, 
pledge  anew  their  friendship  and  swear  to  be  brothers  to  the  end. 

A  fisherman  now  enters  and  announces  the  arrival  of  the  mysterious  veiled  lady  who 
comes  once  a  year  to  pray  for  the  success  of  the  fisheries,  and  whom  the  Ceylonese  have 
adopted  as  their  guardian  saint.  She  enters  and  begins  her  prayer.  Nadir  recognizes  her 
voice  and  realizes  that  it  is  the  priestess  Leila.  The  pearl  fishers  sing  a  chorus  of  appeal  to 
Brahma  for  a  blessing,  in  which  Leila  joins. 

Brahma  gran  Dio  (Divine  Brahma  !) 

By  Linda  Brambilla,  Soprano,  and  La  Scala  Chorus 

(In  Italian)   *68O62      12-inch,     $1.25 

This  is  a  most  impressive  record,  the  lovely 
voice  of  Mme.  Brambilla  showing  to  great 
advantage  above  the  choral  background. 

Leila  goes  into  the  temple  and  the  people 
disperse.  Nadir,  left  alone,  is  agitated  by  his 
discovery,  realizing  that  he  still  loves  the 
maiden.  He  recalls  the  memories  of  his  first 
sight  of  her  in  a  lovely  song. 

Mi  par  d'udir  ancora  (I  Hear  as 
in  a  Dream) 

By  Florencio  Constantino, 
Tenor  (In  Italian) 

74O67      12-inch,     $1.5O 

Leila  reappears  and  the  act  closes  with  her 
prayer  to  Brahma  for  the  good  fortune  of  the 
fishermen.  Just  as  the  curtain  falls  she  rec- 
ognizes Nadir,  and  contrives  to  let  him  know 
that  she  loves  him. 

ACT  II 

SCENE— A  Ruined  Temple 

As  the  curtain  rises  Leila  and  NourabaJ, 
the  high  priest,  are  seen,  they  having  sought 
shelter  in  the  ruins  of  an  ancient  temple.  The 
high  priest,  in  a  fine  air,  reminds  Leila  of  her 
oath  to  renounce  love  and  marriage  and  de- 
vote herself  to  the  welfare  of  the  people.  She 
says  that  she  will  keep  her  promise  and 
tells  him  of  avow  she  made  when  a  child  to  a 
Although  his  pursuers  held  a  dagger  to  her 


MME.     MENDES    AS    LEILA 


fugitive  who  implored  her  to  save  his  life. 


breast  she  refused  to  betray  him  and  he  escaped  to  safety. 
*  Double-Faced Record— For  title  o/opt>o,ile  tide  xe  DOUBLE-FACED  PEARL  FISHERS  RECORDS,  page  34 1, 


VICTOR    BOOK    OF    THE     OPERA— B  IZET'S     PEARL    FISHERS 
Siccome  un  di  caduto    (A  Fugitive,  One  Day) 

By  Giuseppina  Piccoletti,  Soprano  (In  Italian)   *68307     12-inch,     $1.25 

The  high  priest  sternly  recites  the  punishment  which  will  overtake  her  should  she 
prove  false  to  her  vow.  "Shame  and  death  be  thy  portion !"  cries  the  stern  priest.  Left 
alone,  the  miserable  woman  broods  over  her  unhappy  plight.  Bound  by  an  oath  which  she 
now  regrets,  and  conscious  of  her  love  for  Nadir,  which  may  mean  death  for  them  both,  she 
sinks  down  in  an  agony  of  despair.  Nadir  enters  and  asks  her  to  fly  with  him,  defying 
Brahma  and  the  priests.  She  at  first  repulses  him,  but  love  is  finally  triumphant  and  the 
lovers  rapturously  embrace,  while  a  fearful  storm  rages,  unheeded,  without  the  ruins. 

This  scene  is  expressed  by  a  splendid  duet,  two  records  of  which  are  given  here  for 
a  choice. 


Non  hai  compreso  un  cor  fedel  (You  Have  Not  Understood) 

By  Giuseppina  Huguet,  Soprano,  and  Fernando  de  Lucia, 

Tenor  (In  Italian)      92O54      12-inch,     $3.OO 


By  Giuseppina  Piccoletti,  Soprano,  and  Ivo  Zaccari, 

Tenor  (In  Italian)   *68062 


12-inch,       1.25 


He  is  captured  and  brought  back,  while  Zurga  is  summoned  to  pronounce  sentence  on  the 
guilty  lovers.     His  friendship  for  Nadir  moves  him  to  mercy,  and  he  spares   their   lives   and 


The  lovers  are  surprised  by  Nourabad,  and  Nadir  flees,  closely   pursued   by   the   priests. 

loned  to  pronou 
icrcy,  and  he  sj 

bids  them  fly  the  country.  As  they  go,  however,  the  high  priest  tears  the  veil  from  Leila, 
and  when  Zurga  realizes  that  it  is  the  woman  Nadir  has  sworn  never  to  see,  he  is  enraged 
and  sentences  them  both  to  death. 

ACT  III 

SCENE  I—  The  Camp  of  Zurga 

Zurga  is  discovered  alone,  brooding  over  the  impending  death  of  his  friend  and  the 
woman  he  loves.  His  mood  of  despair  is  interrupted  by  Leila,  -who  appears  at  the  entrance 
to  his  tent  and  asks  him  to  dismiss  the  guards 
and  speak  with  her  alone.  She  asks  mercy 
for  Nadir  in  a  dramatic  aria. 

Temer  non  so  per  me  (I  Fear  Not) 

By  Emilia  Corsi,  Soprano 

(In  Italian)     *63394      lO-inch,     $O.75 

She  proudly  refuses  to  plead  for  her  own 
life,  but  begs  that  he  spare  the  friend  whom  he 
loves.  Zurga  refuses  and  summons  the  guards 
to  conduct  her  to  execution. 

SCENE  II—  The  Place  of  Execution 

The  scene  shows  the  wild  spot  where  the 
funeral  pile  has  been  erected.  Leila  and  Nadir 
are  led  in,  and  are  about  to  mount  the  pyre 
•when  a  red  glow  is  seen  in  the  sky,  and  Zurga 
enters  crying  that  the  camp  is  on  fire,  and  bids 
the  people  fly  to  save  their  children  and 
effects.  All  run  out  except  Leila,  Nadir  and 
Zurga,  and  the  high  priest,  who,  suspecting 
a  plot,  hides  to  hear  what  Zurga  will  say.  The 
latter  confesses  that  he  kindled  the  fire  in 


*Double-Faced  Record,— For  title  of  opposite  sidesee  DOUBLE-FACED  PEARL  FISHER  RECORDS,  page34t, 

340 


VICTOR    BOOK    OF   THE    OPERA-BIZET'S    PEARL    FISHERS 


order  to  save  the  lovers.     Unfastening  their  chains,  he  bids  them  escape,  while  Nourabad 
runs  to  warn  the  Indians,  and  Leila  .and  Nadir,  beginning  the  great  trio,  voice  their  gratitude. 

Terzetto  finale — Fascino  etereo 

By  Linda  Brambilla,  Soprano ;  Giuseppe 
Acerbi,  Tenor;  Francesco  Cigada,  Baritone 
(In  Italian)  *68063      12-inch,     $1.25 

The  lovers  praise  the  generosity  and  greatness  of 
Zurga,  who  for  the  sake  of  friendship  has  committed 
an  act  which  may  cost  him  his  own  life.  He  bids  them 
fly  at  once,  and  they  go  as  the  voices  of  the  enraged 
Indians  are  heard  returning  for  vengeance.  Nourabad 
denounces  Zurga  for  the  escape  of  the  victims  and  for 
the  destruction  of  the  camp,  and  he  is  forced  to  mount 
the  funeral  pyre.  As  the  flames  mount  about  him  he 
cries : 

ZURGA: 

Farewell,   my  friend! 

Farewell,  my  Leila! 

For  thee   I  give  my  life! 

As  Zurga  dies  a  fiery  glow  reveals  that  the  forest  is 

ablaze,  and  all  prostrate  themselves,  fearing  the  displeasure  of  Brahma, 
the  flames  envelop  the  stage. 


BIZET 

The  curtain  falls  as 


DOUBLE-FACED   AND  MISCELLANEOUS   PEARL    FISHERS    SELECTIONS 


fDel  tempio  al  limitar  (In  the  Depths  of  the  Temple) 

By  Giuseppe  Acerbi  and  Renzo  Minolfi     (In  Italian) 

Terzetto  finale — Fascino  etereo  }&8O63      12-inch,     $1.25 

By  Linda  Brambilla,  Soprano:  Giuseppe  Acerbi, 

Tenor ;  Francesco  Cigada,  Baritone     (In  Italian)  J 

(Non  hai  compreso  un  cor  fedel  (You  Have  Not  Under- 
stood; By  Giuseppina  Piccoletti,  Soprano,  and 

Ivo  Zaccari,  Tenor      (In  Italian)  ^68062      12-inch,        1.25 
Brahma  gran  Dio  (Divine  Brahma  !)       By  Lina  Brambilla, 

Soprano,  and  La  Scala  Chorus      (In  Italian)) 

Siccome  un  di  (A  Fugitive,  One  Day)  1 

By  Giuseppina  Piccoletti,  Soprano     (In  Italian)  V683O7      12-inch,        1.25 
Hermes — S'io  t'amo  By  Melis  and  Taccani     (In  Italian)} 


/Pearl  Fishers  Selection 
\     Spinning  Wheel     (Spindle 


Sousa's  Band] 
Pryor's  Band) 


35O33      12-inch,        1.25 


Preludio  (Prelude)  By  La  Scala  Orchestral 

Ebrea—Rachele  allor  che  Iddio  [621OO      lO-inch, 

By  Gino  Marlinez-Paiti,   Tenor  (In  Italian)} 

Temer  non  so  per  me  (I  Fear  Not) 

By  Emilia  Corsi,  Soprano  (In  Italian)  [63394      lO-inch. 

Jana — Si  dannato  morro  By  Taccani  (In  Italian)} 

*  'Double-Faced  Records— For  title  of  opposite  side  see  above  list. 


.75 


LA  PERLE*  r>U  BRESIL 

(Paid  da  Breh-zeeT) 
(English) 

THE  PEARL  OF  BRAZIL 

LYRICAL  DRAMA  IN  THREE  ACTS 

Words  by  Gabriel  and  Sylvain  Saint  Etienne  ;  music  by  Felicien  David.  First  produced 
at  the  Theatre  Lyrique,  Paris,  November  22,  1851.  Revived  at  the  same  theatre  March, 
1858,  with  Mme.  Miolan-Carvalho ;  and  at  the  Opera  Comique,  1883,  with  Emma  Nevada 
as  Zora. 

Characters 
(With  the  Original  Cast) 

ZORA Mile.  Duez 

.    LORENZ,  her  lover Soyer 

ADMIRAL  SALVADOR Bouche 

Sailors,  Brazilians,  etc. 


The  Pearl  of  Brazil  was  David's  first  dramatic  work,  and  is  the  story  of  Zora,  a  young 
girl  whom  Admiral  Salvador  found  in  Brazil,  and  whom  he  intends  to  educate  and  eventually 
to  marry.  They  set  sail  from  South  America,  but  Salvador  soon  discovers  that  Zora  has  a 
lover,  Lorenz,  a  young  lieutenant,  who  has  disguised  himself  as  a  sailor  and  is  on  board  in 
order  to  be  near  his  sweetheart.  A  storm  arises  and  the  ship  is  compelled  to  seek  shelter 
in  a  harbor  of  Brazil.  The  natives  attack  the  ship  and  almost  overpower  the  sailors,  when 
Zora  chants  a  hymn  to  the  Great  Spirit,  and  the  Brazilians,  recognizing  their  compatriot, 
make  peace.  In  gratitude  for  the  young  girl's  act,  which  saved  the  lives  of  all  on  board, 
the  Admiral  gives  his  consent  to  her  marriage  with  Lorenz. 

The  Charmant  oiseau  is  the  most  beautiful  number  in  David's  opera,  and  is  offered  here 
by  three  celebrated  sopranos.  This  is  one  of  the  most  famous  of  colorature  airs,  and  one  of 
•which  colorature  sopranos  are  very  fond  as  it  exhibits  to  perfection  the  skill  of  the  singers, 
showing  to  rare  advantage  the  flexibility  of  the  voice,  especially  in  the  duet  with  the  flute, 
•with  its  difficult  runs. 

Charmant  oiseau    (Thou  Charming  Bird)    Wuh  Flute  Obbligato 

By  Luisa  Tetrazzini,  Soprano  (In  French)     88318     12- inch,     $3.00 

By  Emma  Calve,  Soprano  (In  French)     88087      12-inch,       3.OO 

By  Marie  Michailowa,  Soprano  (In  Russian)     6113O     lO-inch,       l.OO 

Delightful  bird  of  plumage  glowing 

With  sapphire  and  with  ruby  dyes, 

'Mid  the  shade  his  rare  beauty  showing 

Before  our  wonderstricken  eyes; 

When  on   the  branch   with  blossoms  trembling, 

He  poises  swinging  gay  and  bright, 

His  checkered  pinions'  gleams   resembling 

A  many-colored  prism  of  light. 

How  sweet   is  he,  the  Mysoli! 

When   day  appears  his  joyful  singing 
Awakes  the  dawn's  enchanted  rest; 
When  evening  falls  his  notes  are  ringing, 
While  fiery  day  fades  from  the  west. 
A-down  the  grove  the  silence  doubles. 
As  now  his  plaintive  dulcet  lay, 
That  breathes  of  love's  ecstatic  troubles, 
From  out  the  tulip  tree  dies  away. 
How  sweet  is  he,  the  Mysoli ! 

From  Ditson  edition-Copy 't  Oliver  Dltson  Co. 
342 


3 

•  ,4*^>      ~> -l 


H.  M.  S.  PINAFORE 

OR 

THE  LASS  THAT  LOVED  A  SAILOR 

COMIC  OPERA  IN  TWO  ACTS 

Text  by  W.  S.  Gilbert ;  music  by  Sir  Arthur  Sullivan.  First  produced  at  the  Opera 
Comique,  London,  May  28,  1878.  First  American  production  occurred  in  New  York  in  1878, 
but  was  unauthorized,  and  was  followed  by  the  first  important  production  at  the  Boston 
Museum,  in  November,  1879.  Successfully  revived  in  New  York  in  1911  and  again  in  1912. 


Characters 

RT.  HON.  SIR  JOSEPH  PORTER,  K.  C.  B.,  First  Lord  of  the  Admiralty .  .Baritone 

CAPTAIN  CORCORAN,  Commanding  "  H.  M.  S.  Pinafore  " Baritone 

RALPH  RACKSTRAW,  able  seaman Tenor 

DICK  DEADEYE,  able  seaman Bass 

BILLY  BOBSTAY,  boatswain's  mate Bass 

BOB  BECKET,  carpenter's  man 

TOM  TUCKER,  midshipmite 

SERGEANT  OF  MARINES 

JOSEPHINE,  the  Captain's  daughter Soprano 

HEBE,  Sir  Joseph's  first  cousin Mezzo-Soprano 

LITTLE  BUTTERCUP,  a  bumboat  woman Contralto 

First  Lord's  Sisters,  his  Cousins  and  Aunts,  Sailors,  Marines. 


Time  and  Place  :    The  scene  is  laid  on  the  quarterdeck  of  "H.  M.  S.  Pinafore"; 
time,  the  present. 


VICTOR    BOOK    OF    THE    OPERA— SULLIVAN'S    PINAFORE 

The  production  of  this  little  opera  marked  the  tempo- 
rary retirement  of  opera  bouffe  in  America ;  its  dainty  music 
and  the  sparkling  wit  of  its  dialogue  being  grateful  to  a 
public  which  was  becoming  satiated  by  the  productions  of 
German  and  French  composers.  Gilbert's  satire  was  keen, 
but  the  wit  was  always  delicate  without  a  single  touch  of 
the  coarseness  which  frequently  marred  the  opera  bouffe 
translations. 

Pinafore  has  an  inexhaustible  fund  of  this  Gilbertian 
wit,  and  never  fails  to  please  an  audience.  When  first 
presented  in  London,  however,  so  little  interest  was  shown 
that  the  management  decided  to  withdraw  the  piece,  but 
its  ultimate  success  was  quite  phenomenal. 

ACT  I 

The  story  of  Pinafore  is  so  generally  known  that  it  is 
like  repeating  an  old,  familiar  tale  to  outline  the  plot.  The 
rise  of  the  curtain  shows  the  deck  of  His  Majesty's  Ship 
Pinafore.  The  Captain  is  in  a  mournful  mood  because  his 
daughter  does  not  favor  his  plan  to  marry  her  to  Sir  Joseph 
Porter,  and  confesses  that  she  loves  an  ordinary  sailor.  Soon 
after  she  meets  Ralph,  who  tells  her  of  his  love,  but  is 
haughtily  repulsed.  In  desperation  he  threatens  to  shoot 
himself,  and  Josephine  then  confesses  that  she  cares  for  him. 
Their  plans  to  get  ashore  and  be  married  are  overheard  by 
Dick  Deadeye,  a  sort  of  comedy  villain,  who  threatens  to 
prevent  their  elopement. 

ACT  II 

In  the  second  act  Little  Buttercup  naively  reveals  her  affection  for  the  Captain,  but  he 
tells  her  he  can  only  be  her  friend.  This  angers  her,  and  she  prophesies  a  change  in  his 
fortunes.  Sir  Joseph  enters  and  complains  to  the  Captain  that  Josephine  has  disappointed  him. 
Corcoran  tells  him  his  daughter  is  probably  dazzled  by  the  exalted  station  of  her  suitor,  and 
suggests  that  he  plead  his  cause  on  the  ground  that  love  levels  all  rank.  Sir  Joseph  accepts 
his  suggestion,  but  only  succeeds  in  strengthening  his  rival's  cause,  as  Josephine  becomes 
even  more  firmly  resolved  to  wed  Ralph.  Dicfa  Deadeye  now  reveals  the  planned  elopement, 
and  the  Captain  stops  the  couple  as  they  are  stealing  away,  demanding  where  they  are 
going.  Ralph  confesses  his  love,  which  so  angers  Corcoran  that  he  swears.  Sir  Joseph  over- 
hears him  and  orders  him  to  his  cabin,  but  on  being  told  the  cause  of  the  excitement, 
orders  Ralph  also  to  be  confined.  Little  Buttercup,  interrupting,  reveals  her  secret  and  tells 
how  the  Captain  and  Ralph  were  accidentally  exchanged  when  both  were  infants.  Where- 
upon Sir  Joseph,  revealing  the  crowning  absurdity  of  Gilbert's  plot,  sends  for  the  seaman,  gives 
him  command  of  the  ship  and  nobly  consents  to  his  marriage  with  Josephine.  The  Captain, 
who  now  automatically  becomes  a  common  sailor,  marries  the  happy  Little  Buttercup. 

The  Victor's  fine  singing  organization  has  given  two  splendid  medleys  from  this 
melodious  nautical  opera,  and  these  two  attractive  records  contain,  in  condensed  form, 
thirteen  of  the  most  popular  numbers  from  the  production. 

Gems  from  "  H.  M.  S.  Pinafore/'  Part  I 

Opening  Chorus,   "We  Sail  the   Ocean  Blue" — Air,  Ralph  and  Chorus, 
"  A  Maiden  Fair  to  See  " — Song,   "  Captain,  I  Am  the  Monarch  of  the  Sea  " — 
"I'm    Called    Little   Buttercup" — "Captain    of    the    Pinafore" — Finale,    Act  I, 
"His  Foot  Should  Stamp." 
By  the  Victor  Light  Opera  Company  31782     12-inch,     $1.OO 

Gems  from  "  H.  M.  S.  Pinafore,"  Part  II 

"The  Gallant  Captain  of  the  Pinafore" — "When  1  Was  a  Lad"— "The 
Merry  Maiden  and  the  Tar" — "Carefully  on  Tip-toe  Stealing" — "Baby 
Farming  " — "  Farewell,  My  Own  " — "  For  He  is  an  Englishman." 

By  the  Victor  Light  Opera  Company  31835      12-inch,     $1.OO 


THE  PIRATES  OF  PENZANCE 

OR 

THE  SLAVE  OF  DUTY 


COMIC  OPERA  IN  TWO  ACTS 

Text  by  Sir  W.  S.  Gilbert ;  music  by  Sir  Arthur  Sullivan.  The  first  performance  on 
any  stage  took  place  in  New  York,  December  31,  1879,  under  the  immediate  supervision  of 
Mr.  Sullivan  and  Mr.  Gilbert.  Produced  at  the  Opera  Comique,  London,  April  3,  1880. 
Recently  revived  by  Messrs.  Shubert  and  W.  A.  Brady. 


Characters 

MAJOR-GENERAL  STANLEY 

PIRATE  KING 

SAMUEL,   his  lieutenant 

FREDERIC,  the  pirate  apprentice 

SERGEANT  OF  POLICE 

MABEL 
EDITH 
KATE 
ISABEL, 

RUTH,  a  pirate  maid-of-all-work Contralto 

Pirates,  Police,  etc. 


Baritone 
...Bass 
.  .Tenor 
.  .  Tenor 


General  Stanley's  daughters Sopranos 


Time  and  Place  :      The  scene  is  laid  on  the  coast  of  Cornwall ;    time,  the  present. 
840 


VICTOR    BOOK     OF    THE    OPERA— THE    PIRATES    OF    PENZANCE 


The  Pirates,  as  it  is  familiarly  called,  is 
one  of  the  very  few  operas  of  note  to  have 
its  first  production  in  America.  This  unusual 
step  was  taken  to  protect  the  rights  of  the 
composers  and  publishers  in  American  rep- 
resentations of  the  work. 

The  first  act  was  written  and  the  entire 
opera  scored  in  this  country,  and  the  work 
•was  not  published  until  after  Messrs.  Gilbert 
and  Sullivan  had  returned  to  England. 

Gilbert's  delightfully  whimsical  story 
tells  of  Frederic,  apprenticed  when  a  child  to 
the  Pirates  of  Penzance,  who  were  very  gentle 
with  orphans  for  the  reason  that  they  them- 
selves were  orphans! 

ACT  I 

The  Pirates  are  celebrating  the  twenty- 
first  birthday  of  Frederic,  who,  tiring  of  a 
piratical  career,  is  about  to  leave  them  to 
seek  another  occupation.  Ruth,  a  "female 
pirate,"  begs  him  to  marry  her,  and  as  she 
is  the  only  woman  he  has  known,  he 
consents,  after  she  has  assured  him  that 
DE  WOLF  HOPPER  AS  THE  SERGEANT  OF  POLICE  she  is  "a  fine  figure  of  a  woman." 

Shortly  afterward  Frederic  meets  General 

Stanley 's  daughters,  who  have  come  to  this  rocky  shore  on  an  outing,  falling  in  love  with 
Mabel,  the  youngest.  The  Pirates  capture  Mabel's  sisters  and  propose  to  marry  them 
(the  ladies  meanwhile  doing  very  little  struggling  with  the  handsome  pirates!),  but  when 
their  father  arrives  and  tells  them  he  also  is  an  orphan,  they  relent  and  release  the  girls. 

ACT  II 

In  the  second  act  the  General,  with  a  highly  exaggerated  sense  of  honor,  is  lamenting 
because  he  has  deceived  the  Pirates  by  telling  them  he  is  an  orphan.  Frederic,  who  is  about 
to  lead  an  expedition  (composed  of  brave  policemen!)  to  exterminate  the  Pirates,  comes  to 
bid  Mabel  good-bye. 

The  Pirate  King  and  Ruth  arrive  and  show  Frederic  the  apprentice  papers  which  bound 
him  to  the  Pirates  until  his  twenty- first  birthday,  and  call  attention  to  their  discovery  of  the 
fact  that  as  he  was  born  in  leap  year  on  the  29th  of  February,  he  has  had  but  five  birth- 
days, and  consequently  is  still  a  member  of  the  band  until  sixteen  more  leap  years  have 
rolled  around!  A  strong  sense  of  duty  influences  him  to  consent  to  return  to  the  Pirates 
and  serve  out  his  unexpired  term  of  something  like  sixty  years !  He  also  considers  it  his 
duty,  now  that  he  is  a  pirate  once  more,  to  tell  them  of  the  General's  falsehood,  and  they 
swear  vengeance. 

In  an  attempt  to  carry  off  the  General  the  pirates  are  captured  by  the  policemen,  but  ask 
for  their  liberty  on  the  ground  that  they  are  really  English  noblemen  "  gone  wrong."  On 
promising  to  give  up  their  piratical  career  they  are  pardoned,  and  this  releases  Frederic, 
who  is  now  free  to  marry  Mabel. 

The  Victor  offers  here,  in  condensed  form,  six  of  the  best  numbers  from  the  opera. 

Gems  from  Pirates  of  Penzance 

Chorus  of  Pirates — Solo,  "  Poor  Wand'ring  One" — Solo,  "  Is  There  Not  One 
Maiden  Breast" — Solo,  and  Chorus,  "A  Policeman's  Lot" — Chorus,  "With 
Catlike  Tread  "—Finale. 

By  the  Victor  Light  Opera  Company     318O8     12-inch,  $1.OO 


(Italian) 

IL  PROFETA 

(Eel  Pro-feh'-tah) 


(French) 

LE  PROPHETE 

(Leh  Pro-feh'f) 


(Engliih) 

THE  PROPHET 


OPERA  IN  FIVE  ACTS 

Text  by  Scribe.  Music  by  Giacomo  Meyerbeer.  First  presented  in  Paris,  April  16, 
1849.  First  London  production  July  24,  1849.  First  New  York  production  November  25, 
1854.  Revived  at  the  Manhattan  Opera  in  1909  with  d' Alvarez,  Lucas  and  Walter- Villa. 


Characters 
JOHN  OF  LEYDEN,  (Ly'-den)  the  Prophet,  chosen  leader  of  the  Anabaptists  .  .  Tenor 

BERTHA,  his  sweetheart Soprano 

FIDES,  (Fee  -dayz)  mother  of  John  of  Leyden Mezzo-Soprano 

COUNT  OBERTHAL,  ruler  of  the  domain  about  Dordrecht Bass 

ZACHARIAH,  i  iBass 

JONAS,  Uhree  Anabaptist  preachers \  Tenor 

MATHISEN,    J  [Bass 

Nobles,  Citizens,  Peasants,  Soldiers,  Prisoners. 


Scene  and  Period :     Holland  and  Germany;   in  1 543,  at  the  time  of  the  Anabaptist  uprising. 


to    beg  the    Count's  consent. 


Meyerbeer's  great  work  is  certainly  entitled  to 
be  called  a  grand  opera,  for  it  is  grand  to  the  utmost 
in  theme,  character  and  scenes ;  and  with  its  brilliant 
and  impressive  music,  at  the  time  of  its  production 
sixty  years  ago  was  a  model  of  its  kind,  as  opera- goers 
demanded  melodramatic  action,  tuneful  music  and 
opportunity  for  ballet ;  and  all  these  requirements 
are  fully  met  with  in  Le  Prophete. 

The  plot  is  based  on  the  Anabaptist  fanaticism 
of  the  sixteenth  century,  -which  agitated  a  large  part 
of  Germany  and  Holland,  and  the  leader  of  which 
•was  one  Bockelson,  commonly  called  John  of  Leyden. 

ACT  I 

SCENE— A  Suburb  of  Dordrecht,  Holland 

The  story  furnished  by  the  librettists  describes 
John  as  the  son  of  the  widow  Fides,  an  innkeeper  of 
Leyden.  At  the  opening  of  the  opera  he  is  about 
to  wed  Bertha,  an  orphan.  She,  being  a  vassal  of 
the  Count  Oberthal,  is  obliged  to  ask  his  permission 
before  marrying,  and  goes  with  Fides,  John' s  mother, 
Count,  struck  with  the  young  girl's  beauty,  covets  her 


for  himself,  refuses  his  consent  and  orders  Fides  and  Bertha  into  the  castle. 


ACT  II 

SCENE — The  Inn  of  John  in  the  Suburbs  of  Leyden 

Three  Anabaptists  enter  and  being  struck  with  the  resemblance  of  John  to  the  portrait 
of  the  guardian  saint,  David,  at  Munster,  they  try  to  induce  him  to  become  their  leader.  He 
refuses,  but  tells  them  of  a  strange  dream  he  has  had. 

JOHN:    Under  the  vast  dome  of  a  splendid  temple 

I    stood — the    people    at    my    feet    were    prostrate — 
The  royal  coronal  adorn'd  my  brow! 

The  Anabaptists  declare  that  Heaven  has  spoken  in  the  dream,  and  promise  that  he  shall 
yet  be  a  ruler;  but  John's  thoughts  turn  to  his  beloved  Bertha,  and  in  the  beautiful  Pastorale 
he  tells  them  that  another  and  sweeter  life  calls  to  him. 

347 


Illllllllllllllllllllllllllllllllllllllllllllllllllllllllltllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 


VICTOR    BOOK    OF   THE    O  P  E  R  A— MEYERBEER'S    PROPHET 

JOHN:  Less   than    this   thatch'd   roof 

Oh,   there  s  a   sweeter   empire,   far,  My  hopes  would  bless, 

Which  long  has  been  my  guiding  star;  Sweet  home   of  calm   felicity, 

Oh,  thou  my  joy,  my  greatest  gain,  Where  I  would  gladly  live  and  die 

If  in  thy  faithful  heart  I  reign :  Where  Bertha  will  forever  prove 

For   me,   the  proudest  kingdom,  Alike  my  bosom's  queen  and  love! 

.    Bertha,  who  has  escaped  from  the  castle,  now  runs  in,  asking  John  to  save  her.      She  is 

concealed  by  him  as  the  Count's  soldiers  enter  and  threaten  to  kill  Fides  unless  John  delivers 

up  the  maiden.     To  save  his  mother's  life  he  is  forced  to  yield,  and  sees  his  bride  carried 

off  to  become  the  Count's  mistress. 

Fides,  in  her  gratitude,  sings  this  most  dramatic  and  intense  of  Meyerbeer's  airs,  which 

has  attained  a  world-wide  popularity. 

Ah,  mon  fils  !  (Ah,  My  Son  !) 

By  Louise  Homer,  Contralto  (In  French)     88284      12-inch,  $3.0O 

By  Ernestine  Schumann-Heink,  Contralto      (In  French)     88187     12-inch,     3.OO 

FIDES: 

Ah,  my  son!   Blessed  be  thou! 

Thy  loving  mother  to  thee   was   dearer 

Than   was   Bertha,   who  claim'd  thy   heart! 

Ah,  my  son!   For  thou,   alas, 

Thou  dost  give  for  thy  mother  more  than  life, 

For  thou  giv'st  all  the  joy  of  thy  soul! 

Ah,  my  son !   now  to  heav'n  my  pray'r  ascends 

for  thee ;  F  rom  Operatic  A  nthology ,  by  permission  of 

My  son,   blessed  be  forever  more!  G.  Scinrmer.    (Copj-'t  isso.) 

The  part  of  Fides,  is  perhaps  most  interesting  in  the  opera,  and  this  Ah,  mon  fils,  is  a 
dramatic  aria  full  of  real  passion. 

John,  left  by  his  mother  to  bitter  thoughts,  hears  the  Anabaptists  in  the  distance,  and 
resolves  to  join  them  as  a  means  of  vengeance  on  the  Count.  The  three  conspirators  enter 
and  are  addressed  by  John  : 

JOHN: 

my  dreams  I  thought  of  supreme  And  shall  I  be  able  to  destroy  Oberthal  ? 

power,          .  ANABAPTISTS: 

Did  you  not  say  follow  us,  In  an  instant. 

And  you  shall  reign?  JOHN: 

FIRST   \NABAPTIST-  What  must  I   do  for  this? 

And  again  we  offer  thee  ^  Speak,  and  I  will  quickly  follow  you. 

A  crown   to  be  a  king.  FIRST  ANABAPTIST: 

T  Groaning  beneath  the  yoke  of  tyranny, 

J°C™  I  then  destroy  my  enemies?  ^  ™"in°g  o°f'  the  ^TLIh^fte. 

ANABAPTISTS:  In  the  name  of  the  Prophet,  who  is  promised 

At  thy  word  they  shall  be  them 

Destroyed  in  an  instant.  By  Heaven,   and  who  is  found  in  thee. 

The  compact  is  soon  made  and  they  depart,  leaving  some  blood-stained  garments  to 
lead  Fides  to  believe  John  has  been  slain  by  the  Count's  assassins. 

ACT  III 

SCENE— Camp  of  Anabaptists  in  the  Westphalia  Forest 

The  city  of  Munster  is  about  to  be  besieged  by  the  rebels,  and  before  proceeding  to  the 
charge,  John,  now  the  Prophet,  and  in  command  of  the  rebels,  makes  them  kneel  and  pray  for 
victory.  They  chant  the  Miserere,  and  John  sings  this  noble  Inno  or  hymn. 

Re  del  cielo  e  dei  beati  (Triumphal  Hymn,  *'  King  of  Heaven") 

By  Francesco  Tamagno,  Tenor    (Piano  ace.)      (In  Italian)     95OO5      lO-inch,  $5.OO 
By  Antonio  Paoli,  Tenor,  and  La  Scala  Chorus    (Italian)      91O8O      lO-inch,     2.OO 
By  Luigi  Colazza,  Tenor  (Double-faced-See t>. 35 1)      (Italian)     16578     lO-inch,       .75 
JOHN:  Let's  unfurl   the  sacred  flag, 

King   of   Heaven   and   of   the   angels,  He  whom  we  serve  is  Lord 

I   will   praise  Thee,  Of   Heaven   and  earth. 

Like   David,   Thy    servant.  Let's  sing  and  march  away. 

A  voice   I   heard — "Array  thyself,  The  eye  of   Heaven   will   watch  over  us, 

And  safely   on    I   will   guide   thee."  A   supreme   power   will   guide   us! 

Praise  to  the  Omnipotent!  With    songs   of   joy — with   shouts   of   glory — 

Yes,  victory  is  on  our  side,  On — on  to  Munster! 

Three  renditions  of  this  inspiring  number  are  presented.  Tamagno,  who  was  perhaps 
the  most  famous  of  all  Prophets,  sings  the  air  gloriously,  while  other  fine  records  are  furnished 
by  Colazza  and  Paoli,  the  latter  being  assisted  by  La  Scala  Chorus, 

349 


VICTOR    BOOK    OF  THE    O  PE  R  A— MEYERBEER'S    PROPHET 


ACT  IV 

SCENE  I— A  Public  Square  in  Munster 

The  insurgents  have  captured  the  city.  The  Prophet  is  received  with  mixed  feelings, 
some  denouncing  him  as  an  impostor.  Fides,  reduced  to  beggary,  meets  Bertha,  who  has 
escaped  from  the  Count  and  come  to  Munster  to  seek  John.  Fides  tells  her  John  is  dr;ad,  and 
Bertha,  thinking  the  Prophet  is  respon- 
sible, swears  to  have  vengeance. 

SCENE  II—  The  Munster  Cathedral 

This  magnificent  cathedral  scene  is 
one  of  Meyerbeer's  most  brilliant  com- 
positions. It  forms  a  striking  contrast 
to  the  rest  of  the  opera,  so  gloomy  with 
religious  and  political  fanaticism,  and 
as  a  piece  of  glittering  pageantry  with 
gorgeous  decoration,  pealing  bells, 
solemn  chants,  and  the  stately  Corona- 
tion March,  has  seldom  been  equaled. 

Coronation  March 

By  Arthur  Pryor's  Band 

31503  12-inch,  $1.OO 
The  great  symphonic  march  which 
occurs  in  this  scene  is  by  far  the  most 
striking  instrumental  number  in  Meyer- 
beer's opera.  It  is  brilliant  and  power- 
ful, with  superb  instrumentation,  and 
always  produces  a  marked  effect  on  the 
listener. 

As  John  passes  into  the  church, 
Fides  sees  him,  and  in  a  transport  of 
joy  greets  him  as  her  son.  He  de- 
clares she  is  mad,  knowing  it  is  death 
to  both  if  he  acknowledges  her.  She 
finally  realizes  the  situation,  confesses 
that  she  is  mistaken,  and  is  led  away 
to  prison. 
FIDES: 

Yes,  the  light  comes  to  my  darkened  eyes. 

People,   I  have  deceived  you — 

It  is  not  my  son! — I  have  no  longer  a  son. 

PEOPLE: 

Hail  to  the  great  Prophet.  The  power  of  his  voice  has  restored  her  reason! 


JOHN     DENY 


S     MOTHER ACT    IV 


FIDES  (aside)  : 

0  grief,  to  save  his  life 

1  must  deny  him. 
Have  pity  on  him,  Lord! 

PEOPLE: 

A  miracle!     A  miracle! 
The  power  of  his  voice  he 


ACT  V 

SCENE  I—  The  Crypt  of  the  Palace  at  Munster 

The  first  scene  takes  place  in  the  prison  vaults  beneath  the  palace,  where  Fides,  feeling 
certain  that  John  will  contrive  to  see  her,  patiently  awaits  his  coming.  She  at  first  denounces 
him  as  an  ungrateful  son,  then,  prays  that  Heaven  may  lead  him  to  repent. 

Prison  Scene 

By  Ernestine  Schumann-Heink,  Contralto       (In  French)     88095      12-inch,  I3.0O 

FIDES    (alone):  (Her  wrath  subsides.) 

O!    my   cruel   destiny!      Whither   have   you   led 

me? 
What,    the   walls   of   a   prison!    they    arrest   my 

footsteps. 

I  am  no  longer  free. 
Bertha    swore    my    son's    death,    he    denied    his 


Though   thou   hast  abandoned  me, 

But  my  heart  is  disarmed, 

Thy  mother  pardons  thee. 

Yes,   I   am   still   a   mother. 

I    have    given    my    cares    that    thou    may'st    be 

happy, 

Now   I  would  give  my  life, 
And    my    soul    exalted,    will    wait    for    thee    in 

heaven ! 
An  officer  enters  and  announces  the  arrival  of  the  Prophet, 

350 


Dther 
On  his  head  let  the  wrath  of  Heaven  fa 


VICTOR    BOOK    OF    THE    O  P  E  R  A— MEYERBEER'S    PROPHET 


Fides  then  begins  the  second  part  of  her  great 
scene. 

FIDES  (joyfully): 
He  comes! 

I   shall   see  him,   delightful  hope! 
Oh,   truth!   daughter  of  heaven, 
May  thy  flame,  like  lightning, 
Strike  the   soul   of  an   ungrateful   son. 
Celestial   flame   restore  to  him  calmness! 
Restore,    bless'd   Heaven,    his   guardian   angel! 
Immortal  grace,   Oh!   conq'ring  come; 
With  thy  pure  love  his  heart  reprove; 
Tho'   he  be  guilty,   save  him  now 
From   that   dark   abyss   which   threatens   to 

engulf  him; 
Let  thy   light   pierce   this   ingrate   son, 


this 

Conscience   riv  n,   his   soul   soften, 
Like  brass  in   furnace  fierce. 
That  he  may  ascend  and  reign  in  Hea 


When  John  enters,  Fides  denounces  the  bloody 
deeds  of  the  Anabaptists  and  calls  on  her  son  to 
repent  and  renounce  his  false  robes. 

FIDES: 

But  thou,  whom  the  world  detests, 

Yes,   thou,    braving   Heaven's    behests; 

Thou,   whose   fell   hand   is   reeking   with   blood; 

Go   thou,    my   son   no   longer   now! 

Far   from  my  heart,   far   from   my  eyes  — 

Blood-stain'd,   go! 

John  confesses  his  sins  and  pleads  for  forgiveness, 
finally  kneeling  and  receiving  her  blessing,  just  as  a 
faithful  officer  enters  and  informs  John  that  the  Ana- 
baptists are  plotting  to  deliver  him  to  the  Emperor's  forces,  which  are  marching  on  the  city. 
Bertha  enters  through  a  secret  passage,  revealed  to  her  by  her  grandfather,  who  was 
once  keeper  of  the  palace.  She  has  resolved  to  blow  up  the  palace  and  the  false  Prophet, 
and  is  horrified  to  learn  that  John  is  the  Prophet.  She  denounces  him  for  his  crimes, 
and  declaring  she  has  no  longer  reason  to  live,  stabs  herself. 

John,  in  despair,  resolves  to  die  with  his  enemies,  and  sending  away  his  mother,  plans  to 
have  the  palace  set  on  fire,  and  goes  to  the  banquet  hall. 


SCENE  II—  The  Great  Hall  of  the  Palace 

After  the  Emperor's  forces  have  entered,  crying,  "  Death  to  the  Prophet,"  John  orders 
the  gates  closed.  An  explosion  occurs  and  the  palace  falls,  carrying  down  to  death  John 
and  all  his  enemies. 

OBERTHAL: 

You  are   my  prisoner! 
JOHN  : 

Nay,  ye  are  all  my  captives! 

(An  explosion   takes  place,    the  walls  fall  and 

flames  spread  on  every  side.) 
JOHN   (to  done  and  Oberthal): 

Thou,    traitor!    and    thou,    tyrant!    shall    perish 
with  me; 

Justice  has  sealed  our  doom; 

I  am  the  instrument, 

We,  all  guilty,  are  all  punished! 


(A  woman  with  dishevelled  hair  rushes  through 
the   ruins   into   John's  arms.      He   recognizes 
his   mother.) 
JOHN  : 

My   mother! 
FIDES: 

Yes,   receive  my  pardon;   I  will   die  with  thee! 
FIDES  AND  JOHN  : 

Welcome,    sacred   flame! 

To    yon    celestial    sphere    may    our    souls    take 

flight! 
Adieu! 

(As  the  flames  mount  about  them  the  curtain 
falls.) 


DOUBLE-FACED  LE  PROPHETE  RECORDS 


(Fantasie  from  Prophet 

\     Barber  of  Seville  Selection 

/Re  del  cielo  (King  of  Heaven) 

1      William  Tell  Ballet  Music— Part  III 


By  Pryor's  Band)  „,.._,.      ._  .     ,     «i  <>* 
By  Pryor's  Band!35125      12'mcn'  $1'25 


By  Luigi  Colazza,  Tenorl.  ,  <Ta 
By  Pryar',  Band!1*5™ 


10-inch,       .75 


(Italian)  (English) 

I  PURITANI  THE  PURITANS 

(Ee  Poo-ree-tah'-nee) 

OPERA  IN  THREE  ACTS 

Book  by  Count  Pepoli ;  music  by  Vincenzo  Bellini.  First  presented  at  the  Theatre 
Italien,  Paris,  January  25,  1835,  •with  a  famous  cast — Grisi,  Rubini,  Tamburini  and  Lablache. 
First  London  producton,  King's  Theatre,  May  21,  1835,  under  the  title  of  Puritan!  ed  i  Cavalieri. 
First  New  York  production,  February  3,  1844.  Revived  in  1906  at  the  Manhattan  Opera, 
with  Pinkert,  Bonci  and  Arimondi. 

Characters 

LORD  GAUTIER  WALTON,  Puritan Bass 

SIR  GEORGE,  Puritan Bass 

LORD  ARTHUR  TALBOT,  Cavalier Bass 

SIR  RICHARD  FORTH,  Puritan Baritone 

SIR  BRUNO  ROBERTSON,  Puritan Tenor 

HENRIETTA  OF  FRANCE,  widow  of  Charles  I ,../-:..  ..Soprano 

ELVIRA,  daughter  of  Lord  Walton " Soprano 

Chorus  of  Puritans,  Soldiers  of  Cromwell,  Heralds  and   Men-at-Arms  of  Lord     "'-  % 
Arthur,  Countrymen  and  Women,  Damsels,  Pages  and  Servants. 


Scene  and  Period :     England  in  the  neighborhood  of  Plymouth,  in  the  period  preceding 
the  impeachment  and  execution  of  Charles  II  by  Parliament. 


Previous  to  Mr.  Hammerstein's  revival  in  1906,  Puritani  had  not  been  given  in  America 
since  the  production  of  1883,  with  Gerster  as  Eloira.  This  is  not  strange,  as  the  opera  on 
the  whole  is  somewhat  dreary,  only  the  few  numbers  the  Victor  has  collected  being  really 
•worth  hearing. 

The  plot  is  rather  a  foolish  one:  the  libretto  being  one  of  the  poorest  ever  written  for 
Bellini,  but  the  music  is  delightful  and  fascinating.  However,  we  •will  briefly  sketch  the 
story,  as  it  will  add  to  the  enjoyment  of  the  lovely  melodies  of  Bellini  -which  the  Victor  has 
recorded.  The  only  available  translation  is  a  very  unsatisfactory  one,  but  a  few  quotations 
are  given. 

The  action  occurs  in  England  in  the  time  of  the  Stuarts,  during  the  civil  war  between 
the  Royalists  and  the  Puritans.  Lord  Walton,  the  Puritan  Governor-General,  has  a  daughter 
Eloira,  whom  he  wishes  to  marry  to  Richard  Forth,  a  Puritan  colonel,  but  the  young  girl  loves 
an  enemy,  Lord  Arthur. 

ACT  I 
SCENE  I — Exterior  of  a  Fortress  near  Plymouth 

At  the  beginning  of  Act  I,  Forth,  learning  that  Elvira  loves  Arthur,  and  that  her  father 
refuses  to  force  her  into  an  unwelcome  marriage,  is  disconsolate  and  gives  vent  to  his  feel- 
ing in  a  famous  air,  best  known  as  Ah  per  sempre  ("To  me  forever  lost").  The  Battistini 
record,  however,  takes  its  title  from  the  second  part  of  the  number. 

Bel  sogno  beato  di  pace     (Blissful  Dream) 

By  Mattia  Battistini,  Baritone  (In  Italian)     88352     12-inch,  $3.0O 

FORTH: 

Ah!  to  me  forever  lost, 

Flow'r  of  love,  and  hope  the  dearest! 

Life,  to  me  thqu  now  appearest, 

Gloomy   and    with    tempests   cross'd. 

Oh,  happy  and  lovely  dream  of  peace  and  joy! 

Oh,  change  thou  my  fate,  or  change  my  heart! 

Ah,   what  a  keen  torment,  in  the  day  of  grief, 

Becomes  the  memory   of  a  vanish'd  love! 

Bruno,  a  Puritan  officer,  enters  and  offers  Sir  Richard  command  of  the  army.  He 
refuses,  saying  that  his  disappointment  in  love  has  unfitted  him  for  so  high  an  honor. 


VICTOR    BOOK     OF    THE     O  P  E  R  A  — B  E  L  L  I  N  I' S     PURITANI 


SCENE  II— Elvira's  Room  in  the  Castle 

The  next  scene  shows  Elvira 's  apartment,  where  her  uncle,  Sir  George,  in  a  fine  air,  tells 
her  that  he  has  persuaded  her  father  to  consent  to  her  marriage  with  Arthur.  This  is  sung 
here  by  de  Segurola  and  issued  as  a  double-faced  record,  the  opposite  selection  being  the 
Infelice  from  Ernani. 

Sorgea  la  notte  (The  Night  Was  Growing  Dark) 

By  A.  Perello  de  Segurola,  Bass  (In  Italian)      55OO7      12-inch,  $1.5O 


The  night 


And 

Favorable  the  sad  hour, 

Thy  pray'rs  gave  courage  to  my  so 

And  to  thy  sire  I  went. 

Thus    I    began. — "My   brother" — 

"Your   angel-like   Elvira 

Is  for  the  valiant  Arthur  pining — 

Should  she  another  wed, 

Oh,   wretched   one!    she   dies!" 

Said  thy   father 

"She  is  to  Richard  promised!" 

"Thy   unhappy   child,"    repeated    I, 

"Oh !   say  not  so,"  he  cried, 

"I  must  yield,  let  Elvira  live, — 

Ah !   may   she  be   happy — 

Let  her  live  in  lover 


"will    dii 


Elvira  is  overjoyed,  and  expresses  her  gratitude.  Trumpets 
are  now  heard,  and  Elvira's  surprise  is  complete  when  Lord  Arthur 
arrives,  attended  by  squires  and  pages,  and  bearing  nuptial 
presents,  prominent  among  which  is  a  splendid  white  veil,  soon 
to  play  an  important  part  in  the  events  to  come. 

Shortly  after  his  arrival  Arthur  discovers  that  the  widow  of 
Charles  I  is  in  the  castle  under  sentence  of  death,  and  his  sense  of 
duty  toward  the  late  Queen  impels  him  to  contrive  her  escape 
by  concealing  her  in  Elvira's  veil,  the  guards  thinking  it  is  the 
bride.  The  escape  is  soon  discovered  and  Elvira,  supposing  that 
her  lover  has  deserted  her  on  the  eve  of  her  bridal  day,  becomes 
insane.  All  denounce  Arthur  and  swear  to  be  revenged. 

ACT  II 

SCENE—  The  Puritan  Camp 
Act  II  shows  the  camp  of  the  Puritan  forces.     Sir  George  announces  that  Parliament  has 

-.  thur  to   death    for   aiding 

demented,  and  sings  her  famous  air,  im 

Qui  la  voce  (In  Sweetest  Accents) 

By  Marcella  Sembrich,  Soprano  (In  Italian)      881O5      12-inch,  $3.OO 

She  recalls  her  first  meeting  with  Arthur  and  repeats  the  vows  he  swore. 
ELVIRA: 

It  was   here   in  accents  sweetest. 
He  would  call   me — he  calls  no  more! 
Here   affection    swore    he   to   cherish, 
That  dream   so  happy,  alas!   is  o'er! 
We  no  more  shall   be   united, 
I'm  in  sorrow  doomed  to  sigh, 
Oh,  to  hope  once  more  restore  me, 
Or  in  pity  let  me  die! 
(Her  mood  changes.) 

Yes. — my     father:     thou     call'st     me     to     the 
uple  ? 


condemned   Arthur  to    death    for    aiding    in    the   escape  of  the   late    Queen.     Elvira    enters, 

luch  like  the  Mad  Scene  in  Lucia. 


'Tis  no  dream,   my   Arthur,   oh.   mv   love! 
Ah,   thou   art   smiling — thy  tears  thou  driest, 
Fond  Hymen  guidini",   I    quickly   follow! 
Then  dancing  and  singing. 

All   nuptial    feasts  providing. 
(Dancing  toward  Richard,  whom   she  takes   b\ 

the   hand.) 

And  surely  you   will   dance   with  me — 
Come  to  the'  altar. 


353 


VICTOR    BOOK    OF    THE    OPERA—BELLINI'S    PURITANI 

Elvira 's  uncle,  hoping  that  the  sight  of  her  lover  will  restore  her  reason,  begs  Sir  Richard 
to  pardon  the  young  man.  Richard  consents,  provided  he  returns  helpless  and  in  peril,  but 
if  he  comes  bearing  arms  against  his  country  he  shall  die.  Sir  George  agrees  to  this,  and  in 
the  splendid  Sound  the  Trumpet  they  pledge  themselves  to  fight  together  for  their  country. 

Suoni  la  tromba  (Sound  the  Trumpet) 

By  Pasquale  Amato,  Baritone,  and  Marcel  Journet,  Bass 

(In  Italian)      89O56      12-inch,   $4.OO 

This  favorite  duet,  often  sung  in  concert,  has  been  aptly  described  as  a  "  stentorian  " 
number.  It  is  undeniedly  a  most  vigorous  piece  of  declamation,  and  if  the  loyalty  of  Sir 
George  and  Sir  Richard  can  be  judged  by  the  vigor  of  the  usual  rendition,  they  are  loyal 
indeed ! 

SIR  RICHARD  AND  SIR  GEORGE: 

Sound,    sound  the   trumpet  loudly! 

Bravely   we'll   meet  the   foemen, 

'Tis   sweet  affronting  death! 

Bold   love    of   country    aiding. 

The  victor's  wreath  unfading, 

Will  unto  us  be  proudly 

Restor'd  by  Love  and  Faith! 

Morn!   rising  on  a  nation, 

Whose  only   trust   is   freedom- 
Will  bring  us  eternal  fame! 

Earth's  tyrants   who  dissemble, 

At   the  war-message  tremble, 

Midst   the   world's   execration 

They  sink  in  endless  shame! 

The  Puritans  then  renew  their  pledge  as  to  Arthur,  saying: 

SIR  GEORGE: 

All   is  now  concluded, 

If  Arthur  is  defenceless — 
RICHARD: 

He'll   find  support   and   succor. 
SIR  GEORGE: 

RICHARD: 

He  comes  to  shame  and  vengeance! 

ACT  III 

SCENE — A  Garden  near  Eloira 's  House 

The  rise  of  the  curtain  discloses  Arthur,  who  is  fleeing  from  the  enemy,  and  has  come 
to  the  castle  in  the  hope  of  seeing  Eloira  once  more  before  he  leaves  England  forever.  She 
cornes  from  the  castle  and  at  the  sight  of  Arthur  her  reason  suddenly  returns.  The  lovers 
are  reconciled  after  Arthur  explains  that  it  was  in  the  service  of  his  Queen  that  he  had  fled 
from  the  castle.  They  sing  a  lovely  duet : 

Vieni  fra  queste  braccia  (Come  to  My  Arms) 

By  Maria  Galvany,  Soprano,  and  Francesco  Marconi,  Tenor 

(In  Italian)      89O46      12-inch,  $4.OO 

Forgetting  their  present  danger,  they  think  only  of  their  love  and  that  they  are  in  each 
other's  arms  again. 

ARTHUR: 

Come,   come   to   my   arms, 
Thou  my  life's  sole   delight! 
And  thus  press'd  to  my  heart, 
We'll   no  more  disunite! 
Thrill'd  with  anxious  love  and  fear, 
On   thee   I  call— for  thee  I   sigh;— 
Come,  and  say  the  love  is  dear 
That  soareth  to  boundless  height! 

The  sound  of  a  drum  is  heard,  and  Eloira  again  becomes  delirious,  which  so  alarms 
Arthur  that  he  thinks  not  of  escape  and  is  captured  by  the  Puritan  forces.  The  sentence  of 
death  is  read  to  him  and  he  is  being  led  to  his  execution,  when  a  messenger  arrives  from 
Cromwell  saying  that  the  Stuarts  were  defeated  and  a  pardon  had  been  granted  to  all  captives. 
Elvira's  reason  returns,  and  the  lovers  are  finally  united. 

(Curtain) 
354 


(Italian)  (English 

REG  IN  A  DI  SABA  QUEEN  OF  SHEBA 

(Ran-gee'-nah  dee  Sah'-bah) 

OPERA  IN  FOUR  ACTS 

Text  by  Mosanthal,  founded  upon  the  Biblical  mention  of  the  visit  of  the  Queen  of 
Sheba  to  Solomon.  Music  by  Goldmark.  First  production  1875,  in  Vienna.  In  New  York 
1885,  with  Lehmann  and  Fischer.  Revived  in  1905,  with  Walker,  Rappold,  Knote  and  Van 
Rooy. 

Characters 
KING  SOLOMON   ...  Baritone 

HIGH  PRIEST Bass 

SULAMITH,  his  daughter Soprano 

ASSAD,   Solomon's  favorite Tenor 

QUEEN  OF  SHEBA Mezzo-Soprano 

ASTAROTH,  her  slave  (a  Moor) Soprano 

Priests,  Singers,  Harpists,  Bodyguards,  Women  of  the  Harem,  People. 

Scene  :     Jerusalem  and  vicinity. 

Mosenthal's  story  tells  of  the  struggle  of  Assad,  a  courtier  of  Solomon,  against  fleshly 
temptation,  and  of  his  final  victory  which  involves  the  sacrifice  of  the  happiness  of  his 
betrothed,  Sulamith. 

For  this  text  Goldmark  furnished  some  of  the  most  beautiful  and  sensuous  music  in  the 
entire  range  of  opera,  and  it  is  an  interesting  detail  that  after  he  had  finished  his  opera  and 
had  submitted  it  to  the  Imperial  Opera,  Vienna,  it  was  not  accepted  on  the  ground  that  it 
was  too  "exotic"!  Later,  through  the  influence  of  Princess  Hohenlohe,  it  was  presented 
and  was  a  great  success. 

ACT  I 

The  wisdom  and  fame  of  Solomon  having  reached  even  distant  Arabia,  the  Queen  of 
Sheba  decides  to  visit  him,  and  a  favorite  courtier,  Assad,  has  been  sent  to  meet  her  and  es- 
cort her  to  the  city.  When  Assad  arrives  with  the  Queen,  his  betrothed,  Sulamith,  is  aston- 
ished to  find  him  pale  and  embarrassed,  and  trying  to  avoid  her.  Assad  afterward  confesses 
to  Solomon  that  he  had  met  a  beautiful  woman  at  Lebanon  and  had  fallen  in  love  with  her. 
When  the  Queen  of  Sheba  arrives  and  removes  her  veil,  Assad  is  astounded  to  recognize  in  her 
the  mysterious  woman  who  had  captured  his  senses.  Involuntarily  he  rushes  toward  her, 
but  she  coldly  repulses  him  and  passes  on  with  the  King. 

ACT  II 

In  Act  II  the  Queen  discovers  that  she  loves  Assad,  and  seeing  him  in  the  garden,  bids 
her  maid  attract  his  attention  with  a  weird  Oriental  song.  Assad  starts  when  he  hears  the 
mysterious  air,  as  it  seems  to  bring  back  memories  of  the  night  at  Lebanon.  He  sings  his 
beautiful  air.  Magic  Tones. 

Magiche  note  (Magic  Tones  !) 

By  Enrico  Caruso,  Tenor  (In  Italian)     87O41      lO-inch,  $2.OO 

A  lovely  melody,  sung  at  first  in  mezzo-\>oce,  develops  gradually  until  the  intense  and 
passionate  climax  is  reached. 

The  Queen  and  Assad  soon  meet  and  confess  their  love  for  each  other,  but  are  inter- 
rupted by  the  arrival  of  the  night  guard. 

ACT  III 

In  the  next  scene  the  Court  assembles  for  the  wedding  of  Sulamith  and  Assad,  but  Assad 
insults  his  bride  and  declares  his  love  for  the  Queen.  He  is  banished  from  Jerusalem  and 
finally  dies  in  the  arms  of  Sulamith,  who  is  crossing  the  desert  on  her  way  to  a  convent. 


(English) 


LA  REINE  DE  SABA        QUEEN  OF  SHEBA 

(Lah  Ran  deh'  Sah-bah') 

OPERA  IN  FOUR  ACTS 

Text  by  Jules  Barbier  and  Michel  Carre.  Music  by  Gounod.  First  performed  at  the 
Opera,  Paris,  February  28,  1862.  An  English  version  called  Irene,  by  Farnie,  was  given 
in  London  at  the  Concert  Palace,  August  12,  1865.  First  American  production  December 
2,  1885. 


Characters  in  the  Opera 

KING  SOLOMON Bass 

BAUCIS,  Queen  of  Sheba Soprano 

ADONIRAM,  a  sculptor Tenor 

BENONI,    his  assistant Tenor 


PHANOR,       | 
AMRU,          U 
METHUSALL,  I 
SARAHIL,  maid 
SADOC  


rkmt 


Baritone 
Tenor 


the  Queen Contralto 

Soprano 


The  action  takes  place  in  Jerusalem. 


La  Reine  de  Saba  is  one  of  the  four  operas  which  Gounod  composed  between  his  Faust 
(1859)  and  Romeo  (1867).  None  of  these  works  have  been  very  successful,  but  they  contain 
much  beautiful  music. 

ACT  I 
SCENE  I—  The  Studio  of  Adoniram 

The  curtain  rises,  disclosing  Adoniram  at  -work  on  an  important  group  of  statuary. 
Benoni  enters  and  informs  him  that  the  King  desires  his  presence,  as  the  Queen  of  Shcba  is 

356 


VICTOR  BOOK  OF  THE  OPERA-GOUNOD'S  QUEEN  OF  SHEBA 

expected  to  arrive  at  any  moment.     As  Adoniram  prepares  to  leave  the  studio  his  workmen 
demand  higher  wages,  but  he  refuses  them  and  they  go  out  muttering  threats. 

SCENE  II—  Square  in  front  of  the  Temple 

The  Queen  arrives  and  is  welcomed  by  King  Solomon  and  the  people.  Adoniram  is 
presented  to  her  as  one  of  Palestine's  great  artists,  and  she  seems  greatly  impressed  by  the 
handsome  young  sculptor. 

ACT  II 

SCENE  —  Moulding  Room  of  Adoniram  's  Studio 

King  Solomon  and  the  Queen  have  promised  to  come  and  see  the  final  casting  of 
Adoniram  's  masterpiece,  and  he  is  preparing  for  this  event  when  Benoni  enters  hurriedly  and 
reveals  the  plot  of  the  workmen,  who  have  stopped  the  channels  so  that  the  melted  bronze 
cannot  flow.  His  information  comes  too  late,  and  the  molten  mass  overflows,  apparently 
ruining  the  statue. 

ACT  III 

SCENE—  Open  place  on  the  Feiche 

Adoniram  meets  ths  Queen  of  Sheba  here,  and  she  confesses  her  love  for  him.  He  is  at 
first  inclined  to  repel  her  advances,  but  soon  falls  undsr  the  spell  of  her  fascinations  and 
clasps  her  in  his  arms.  He  tells  her  that  he  also  is  of  her  race,  the  Nimrod.  The  faithful 
Benoni  hurriedly  enters  in  search  of  Adoniram,  telling  him  that  in  spite  of  the  plot  of  the 
workmen  the  moulding  of  his  statue  has  been  successful. 

ACT  IV 

SCENE—  The  Great  Hall  of  Solomon's  Palace 

Adoniram  is  received  by  Solomon  and  the  Court  and  proclaimed  the  greatest  sculptor  of 
the  time.  All  leave  the  hall  except  Solomon  and  the  Queen,  who  gives  a  sign  to  her  maid, 
Sarahil,  to  bring  a  draught  which  she  presents  to  Solomon.  He  soon  falls  asleep  at  the  feet 
of  the  Queen,  who  takes  the  ring  from  his  finger  and  leaves  the  Palace. 

ACT  V 

SCENE—  The  V  alley  of  Hebron 

Adoniram  and  the  Queen  have  planned  to  fly  together,  and  are  already  approaching 
the  meeting  place,  when  three  of  Adoniram'  s  discontented  workmen,  bent  on  revenge,  set 
upon  and  stab  him.  The  Queen  hurries  to  his  side  and  falls  on  his  body,  cursing  his 
murderers  and  Solomon. 


reres  a  . 

The  Victor  has  selected  four  numbers  from  Queen  of  Sheba  which  are  worthy  of  preser- 
vation —  the  first  being  the  splendid  recitative  and  air,  Lend  Me  Your  Aid,  sung  by  Evan 
Williams;  the  second  the  great  air  of  the  Queen,  given  by  Mme.  Gerville-Reache  ;  two 
records  of  the  Sous  les  pieds  by  Journet  and  Witherspoon  ;  and  a  Sousa's  Band  record  of  the 
Queen  of  Sheba  March.  This  famous  marche  et  cortege  is  a  grand  number,  and  played  with 
the  full  strength  of  the  band. 

Queen  of  Sheba  Records 
Lend  Me  Your  Aid 

By  Evan  Williams,  Tenor  (In  English)     64O96       lO-inch,     $1.OO 

Plus  grand  dans  son  obscurite  (More  Regal  Than  a  King) 

By  Jeanne  Gerville-Reache,  Contralto  (In  French)      882O5       12-inch,     $3.OO 

Sous  les  pieds  d'une  femme    (She  Alone  Charmeth  My  Sadness) 

By  Marcel  Journet,  Bass  (In  French)      74269       12-inch,     I1.5O 

By  Herbert  Witherspoon,  Bass  (In  French)      74277       12-inch,        1.5O 

Queen  of  Sheba  March 

By  Sousa's  Band  31453      12-inch.     $1.OO 


IL  RE  PASTORE 


(English) 

THE  SHEPHERD  KING 


DRAMATIC  CANTATA  IN  TWO  ACTS 


Text  by  Metastasio  ;  music  by  Mozart.  First 
production  Salzburg,  April  23.  1775.  The  libretto 
is  the  one  used  for  Bono's  opera  of  the  same 
name,  given  in  Vienna  in  I  75 1 . 


Characters 

ALESSANDRO,  King  of  Macedonia. 

AMINTA,   shepherd   descendant   of   the   Kings   of 

Sidon  and  lover  of  Elisa. 
ELISA,    shepherdess. 
TAMIRI,   fugitive  princess,  daughter  of  the   tyrant 

Stratone. 
AGENOR,    noble    of    Sidon,    lover  of  Tamiri    and 

friend  of  Alessandro. 


The  opera  of  "  II  Re  Pastore  "  was  written  by 
Mozart  in  honor  of  the  Archduke  Maximilian, 
the  composer  having  been  ordered  to  produce  the 
work  for  the  entertainment  of  the  Archduke 
during  his  visit  to  Salzburg  in  1775. 

The  story  tells  of  the  capture  of  Sidon,  the 
execution  of  the  usurper  Stratone  by  Alessandro, 
King  of  Macedonia,  who  places  on  the  throne  the 
rightful  king,  Aminia,  who  has  been  living  as  a 

shepherd.      Alessandro  plans  that  the  new   king   shall 

marry    Tamiri,    daughter    of    Stratone,    but    Aminia    is 

already  in  love  with  Elisa,  a  shepherdess,  and  rather 

than   give  her  up  he  refuses  the  crown.     The   King, 

pleased    with    Aminta  's  fidelity,    gives    his    consent    to 

the    marriage    with   Elisa  and   establishes   the   couple 

upon  the  throne.     He  also  gives  Tamiri  to   her  lover 

Agenor,    and    promises    them    the    next    kingdom    he 

shall  conquer. 

The  aria  L'amero  saw  costante,   which   Melba  has 

sung  for  the  Victor,  was  a  great  favorite  with  Jenny 

Lind.     The  beauty  of  Mozart's  music  is  enhanced  by 

the  pure  vocalization  of  Melba,  and  no  fitter  vehicle  of 

expression  for  the  composer's  beautiful  melody  than  the 

perfect  vocal  organ  of  this  great  singer  could  be  imag- 
ined.    The  double  cadenza  at  the  conclusion  for  voice 

and    instrument  is  an  intricate  and  striking  one,  and 

provides  a  strong  and  effective  climax  to  Melba's  per- 
formance  of   this   fine   air.     Kubelik's   playing  of  the 

violin  part  is  a  masterly  performance. 

L'amero  saro  costante  (My  Love  is 
Ever  True) 

By  Nellie  Melba,  Soprano,  and  Jan 
Kubelik,  Violinist     (In  French) 

89O74     12-inch,  $4,OO 

358 


(Ger 


DAS  RHEINGOLD 


THE  RHINEGOLD 


(Dahss  Rine'-golJt) 

MUSIC  DRAMA  IN  FOUR  SCENES 

Words  and  music  by  Richard  Wagner.     First  produced  at  Munich,  September  22,  1869. 
First  American  production  at  New  York,  January  4,  1888. 


WOT  AN,    (Vd-tahn) 

DONNER, 

FROH. 

LOGI,    (Loio'.jec) 

FASOLT, 
FAFNER, 


Characters 


Gods 


^Giants  . 


ALBER1CH,  (/M/'-ier-faAHxru   ,  ,~  s 

MIME,    (Mee'-mee)  jNibelungs  (Gnomes) 

FRICKA,    (Free-kah)  | 

^Goddesses 


FRElA,    (Free'-ah) 

ERDA,  (Eh/-dah) 
WOGLINDE, 
WELLGUNDE, 
FLOSSHILDE, 

Rheingold  is   not 


(Baritone 
Bass 
Tenor 
Tenor 
/Bass 

\Bass 

/Baritone 
'  '  \Tenor 
Soprano 

Soprano 

Contralto 
Soprano 
Soprano 


Nymphs  of  the  Rhine. 

Contralto 

opera.     Played  in  complete  darkness  and  with  no  inter- 


socety 

missions  during  the  two  hours  required  for  its  presentation,  it  is  a  work  only  for  real  music- 
lovers  who  understand  something  of  the  story  and  appreciate  Wagner's  wonderful  music. 

This    first   part  of  the  T^jng   is  an  introduction  to  the    Trilogy   proper,  and   a  full  under- 
standing of  its  incidents  is  necessary  to  properly  appreciate  the  other  Ring  operas. 
SCENE  I—  The  Bottom  of  the  Rhine 

The  stage  is  in  semi-darkness,  representing  the  murky  depths  of  the  Rhine,  and  the 
light  glimmering  on  the  surface  of  the  water  above  shows  but  faintly  the  three  Rhine 
maidens  guarding  the  Rhinegold. 

They  sing  their  quaint  songs  as  they  float  about  the  rock  which  conceals  the  treasure. 


VICTOR     BOOK     OF     THE     OPERA— THE     RHINEGOLD 


Alberich,  prince  of  the  Nibelungs, 
a  strange  race  of  dwarfs  who  dwell 
deep  in  the  earth,  observes  the 
beauty  of  the  maidens  and  tries  to 
make  love  to  them.  They  laugh 
at  him  and  evade  with  ease  his 
clumsy  endeavors  to  catch  them. 
Suddenly,  as  the  sun  rises, the  gleam 
of  the  Rhinegold  is  seen.  Alberich, 
dazzled  by  the  splendor  of  this 
glow,  asks  what  it  is,  and  the  maid- 
ens foolishly  inform  him  that  who- 
ever can  secure  this  treasure  and 
form  it  into  a  ring  can  become  lord 
of  all  the  world.  One  condition, 
however,  is  that  the  possessor  can- 
not wield  this  power  unless  he  re- 
nounces forever  the  joys  of  love. 

Alberich,  having  failed  in  his 
amorous  attempts  towards  the  Nai- 
ads, now  conceives  an  ambition  for 
power.  He  cries,  "  Then  love  I 
renounce  forever,"  and  swimming 
to  the  rock,  he  tears  the  gold  from 
its  place  and  flees,  while  from  the 
complete  darkness  which  ensues 
comes  the  dwarf 's  mocking  laughter 
and  the  wailing  of  the  maidens  who 
are  moaning  for  their  lost  treasure. 

SCENE  II— A  Mountain  Top,  Show- 
ing the  Castle  of  Walhalla 
During  this  darkness  the  scene 
changes  and  as  the  stage  becomes 
lighter  we  see  Walhalla,  the  abode 
of  the  gods,  a  wonderful  castle 
built  for  Wotan  by  the  giants. 
Wolan  and  his  wife  are  lying  asleep 
on  a  flowery  bank,  but  soon  wake 
and  see  the  castle  which  has  been 
built  while  they  slept.  Wolan  is  overjoyed 


GORITZ    AS    ALBERICH    AND    REISS   AS    MIME 


at  the  glorious  sight,  but  the  more  practical 
Frieda  reminds  him  of  the  price  which  he  had 
agreed  to  pay  the  giants  for  this  godly  dwell- 
ing ;  this  being  the  surrender  of  Freia,  goddess 
of  youth  and  beauty.  Wotan  tells  her  that  he 
never  intended  to  keep  his  agreement,  the  god 
Loge  having  promised  to  show  him  a  way  to 
evade  payment. 

Freia  now  hastily  enters,  closely  pursued 
by  the  giants  Fasolt  and  Fafner,  who  call  upon 
Wotan  to  deliver  the  goddess  to  them  as  agreed. 
Wotan  repudiates  his  promise,  saying  that  it 
was  made  only  in  jest. 

WOTAN  : 

How   sly   to   take   for   truth 

What  only  in  sport  we  had  settled! 

This   beauteous   goddess,    light   and   bright, 

What  use  to   you  are   her  charms? 

Froh  and  Donner,  Frieda 's  brothers,  enter, 
also  Loge,  and  a  long  argument  ensues,  Wolan 
finally  realizing  that  he  must  give  up  Freia  to 

360 


VICTOR     BOOK     OF    THE      OPERA— THE     RHINEGOLD 


the  giants.  Loge,  however,  tells  them  of  the 
Rhinegold,  saying  that  if  this  treasure  could  be 
stolen  from  Alberich  by  Wotan,  it  might  be 
accepted  by  the  giants  in  place  of  Freia. 
Wotan  refuses  to  entertain  this  plan  and  the 
giants  seize  Freia  and  carry  her  off,  declaring 
that  if  the  Rhinegold  is  not  in  their  hands  by 
night  the  original  bargain  must  stand,  and  Freia 
be  lost  to  the  gods  forever. 

Left  alone,  the  gods  realize  the  serious 
predicament  they  are  in,  especially  as  it  is  seen 
that,  deprived  of  their  youth  goddess,  they 
are  suddenly  aging.  Wotan  thereupon  decides 
to  secure  the  Nibelungs'  gold,  and  goes  with 
Loge  in  search  of  Alberich.  A  vapor  arises 
from  the  earth,  concealing  the  stage,  and  when 
it  disappears  the  scene  has  changed. 

SCENE  \\\— Alberich' s  Cave 
Alberich,  since  he  has  acquired  the  Rhine- 
gold,  has  become  more  arrogant  and  cruel  than 
ever,  and  compels  Mime  and  the  other  Nibe- 
lungs to  continually  toil  and  slave  to  bring  him 
in  more  gold.  At  the  beginning  of  the  scene 
he  is  berating  Mime  for  loitering  over  his  task 
of  making  a  Tarnhelm,  or  magic  cap,  fashioned 
from  the  Rhinegold,  and  which  gives  the  wearer 
the  power  to  become  invisible.  Wotan  and 
Loge  now  enter  on  this  scene  and  are  rudely 
greeted  by  Alberich,  who  demands  their  busi- 
ness, and  holding  out  the  Ring  bids  them 
tremble  at  his  power.  They  at  first  craftily 
flatter  him,  but  he  is  surly  and  says  that  naught 
but  envy  could  have  brought  them  here.  Wotan  is  angry  and  is  about  to  voice  his  wrath 
when  the  crafty  Loge  makes  him  a  sign  to  be  quiet  and  begins  to  taunt  Alberich,  doubting  his 
power.  Alberich  is  so  enraged  that  he  offers  to 
change  himself  into  any  shape  required  to  prove 
the  magic  of  the  Tarnhelm,  and  immediately  be- 
comes a  huge  dragon.  Loge  affects  extreme  ter- 
ror, at  which  Alberich  laughs  and  resumes  his 
human  shape  again.  The  god  then  cunningly  asks 
him  to  change  to  a  toad,  which  shape  he  has  no 
sooner  assumed  than  Loge  puts  his  foot  on  the 
toad  and  seizes  the  Tarnhelm,  thus  robbing  Al- 
berich of  his  power.  His  natural  form  returns  and 
they  bind  him  and  start  for  the  upper  earth.  The 
scene  changes  again  to  the  mountain  summit. 

SCENE  IV—  Same  as  Scene  II 

H  helpless 

rage.     They 

demand  that  he  give  them  his  hoarded  store  of 
gold  as  the  price  of  his  freedom.  He  reluctantly 
obeys  and  summons  the  Nibelungs,  who  instantly 
swarm  up  from  below  carrying  the  hoard.  He 
then  asks  to  be  set  free,  but  Wotan  demands  also 
the  Ring.  Alberich  is  horrified,  but  is  finally 
compelled  to  add  it  to  the  pile  of  gold.  He 
then  sings  his  bitter  and  ironical  air,  Bin  ich  nun  PAKTEO  er  ECHTEK 
frei?  THE  CAPTURE 


FREIA  (GODDESS  OF  YOUTH) 
FRICKA:  "See  how  distressed 

Sadly  the  fair  one  stands! 


Woian  and  Loge  enter,  dragging  the  h 
rich,  who  is  beside  himself  with  rage. 


VICTOR     BOOK    OF    THE     OPERA— THE     RHINEGOLD 


Bin  ich  nun  frei  ? 
(Am  I  Now  Free?) 

By  Otto  Goritz, 

Baritone 
(In  German) 
642O3  lO-inch,  $1.OO 

He  lays  a  frightful  curse 
on  the  Ring,  predicting  that 
it  will  bring  misery  and  death 
to  each  possessor  until  it  is 
restored  to  him  again. 

ALBERICH    (with  bitter  irony): 
Am   I   now   free? — 
Really    free? 
Then  listen,  friends, 
To   my    freedom's   first 

salute  I— 
As  at  first  by  my  curse 

'twas  reached. 
Henceforth   cursed   be    this 

ring! 
Gold   which   gave  me 

measureless   might, 

Now   may   its   magic   deal    each   owner   death! 
No  man  shall  e'er  own  it  in  mirth. 
And  to   gladden   no  life   shall    its   luster   glean 
May  care   consume   each   several   possessor, 
And  envy  gnaw  him   who  ncareth   it  not! 
All   shall   lust  after  its  delights, 
But  none   shall   employ  them   to   profit   him. 
To  its  master  giving  no  gain, 
Aye  the  murd'rer's  brand  it  shall  bring. 
To  'death   he   is   fated, 


He  vanishes  and 
Woian,  who  has  paid 
little  attention  to  his 
cursing,  dons  the  Ring, 
gazing  at  it  in  admi- 
ration. The  giants  now 
return  for  their  pay,  and 
demand  that  enough 
gold  shall  be  piled 
around  Freia  to  hide  her 
completely  from  sight. 
This  is  done,  but  when 
all  the  gold  is  piled  up 
Fafner  says  there  is  still 
one  small  crevice  visi- 
ble, and  insists  that  it  be 
filled  with  the  Ring. 
Wolan  refuses,  and  the 
giants  are  about  to  seize 
Freia  again,  when  Erda, 
the  earth  goddess,  rises 
and  delivers  her  appeal 
to  Wolan. 


Its  fear  on  his  fancy   shall   feed; 
Though  long  he  live  shall  he  languish  each  day, 
The    treasure's    lord    and    the    treasure's    slave: 
Till   within   my    hand   I    in   triumph   once   more 

behold    it! — 

So — stirred  by   the   hardest    need, 
The    Nibelung   blesses    his    ring! — 
I   give  it  thee, — guard  it  with  care — 
But  my  curse  canst  thou  not  flee! 


FREIA    AND    THE 


Weiche,  Wotan,  weiche  !     (Waver,  Wotan) 


By  Ernestine  Schumann-Heink,  Contralto 

Mr.  Witherspoon) 


( Wotan 's  responses  by 

(In  German)     88O92      12-inch.  $3.OO 


She  -warns  him  solemnly  that  the  Ring  is  cursed  and  charges  him  to  give  it  up. 


VICTOR  BOOK  OF  THE  OPER  A— T  HE  RHINEGOLD 


ERDA    (stretching  her  hand) : 

Waver,   Wqtan,   waver! 

Quit  the  Ring  accursed! 

(She  continues  her  solemn  warning) 

Ruin   and    dismalest    downfall    wait   thee    in    its 

wealth. 
WOTAN  : 

Who   speaks   such   menacing    words? 
ERDA: 

Whatever  was,   was  I;  what  is,  as  well; 

What  ages  shall   work— all   I  show; 

The  endless  world's  All-wise   one,    Erda,   opens 
thine    eyes. 

Three,  the   daughters  born  to  me 

E'er  the  world   was   made ;   all   I    notice 


Nightly  thou  know'st  from  the  Nornir. 

But  hither  in  dire  danger  haste  I   to  thy   help. 

Hear  me!      Hear  me!      Hear  me! 

All  that  exists,  endeth!' 

A  dismal  day  dawns  for  the  yEsir: 

O   render   wisely   the   ring! 

(She  begins  to  sink  slowly  into  the  earth.) 
WOTAN  : 

A  secret  spell   speaks   in  thy  words: 

Wait  and  impart  more   wisdom. 
ERDA    (disappearing)  : 

I've  warned  thee  now;  thou   wott'st  enough; 

Pause  and  ponder  truth! 

(She  completely   disappears.) 


Mme.  Schumann-Heink  sings  this  powerful  number  with  dignity  and  dramatic  force. 

Wotan  at  last  yields  and  thr  :ws  the  Ring  on  the  heap  of  gold.  The  giants,  as  if  to  prove 
the  curse,  immediately  begin  to  quarrel  about  its  possession,  and  Fasoll  is  killed  by  Fafner  ; 
after  which  the  murderer  coolly  proceeds  to  collect  the  gold  and  then  departs. 

Donner,  the  god  of  thunder,  now  calls  up  a  storm  and  causes  a  magic  rainbow  bridge 
to  form,  making  a  passage  to  the  castle. 


(The  Evening  Light) 


Abendlich  strahlt  der  Sonne  Auge 
(W^otan's  Invocation) 

By  Marcel  Journet,  Bass  (In  German)      74268      12-inch,  $1.5O 

Wotan  then  sings  the  famous  invocation  to  the  Castle  of  Valhalla,  which   gleams  with 

great  brilliance,  illumined  by  the  setting  sun.     The  god,  absorbed   in  contemplation  of  the 

castle,  sings: 

\\UTA.N: 

See  how  at  eve  the  eye  of  sunlight 
With  glorious  touch  gilds  turret  and  tow'r! 
In  the  morning  glamour,  manful  and  glad, 
It  bided  masterless,  mildly   beck'ning  to  m« 

As  the  gods  proceed  across  the  bridge  to  Walhalla  the  voices  of  the  Rhine  maidens  can 
be  heard  from  below,  still  bewailing  the  loss  of  their  gold. 

RHINE-NYMPHS    (from    below):  In   the  wave  thy  pure  magic  wake! 

Rhinegold!     Rarest  gold!  What  is  of  worth  dwells  but  in  the  waters! 

O  might  but  again  Base  and   bad  those   who  are  throned  above. 

(As  the  gods  slowly  cross  the  bridge  to  the  castle,  the  curtain  falls. ) 

DOUBLE-FACED  RHINEGOLD  RECORD 

/Selection  from  the  Opera  By  Conway's  Band\ ~,~,  ,      ,~    •      u    «i  >>« 

\      Gotterdammerung  Fantasia     (Wagner)         By  Arthur  Pryor's  £and(3531 5      12-inch,  $1.25 


From  morning  till  evening  thro'  mighty  ills 

I  won  no  way  to  its  wonders. 

The  night  is  nigh;  from  all  annoy 

Shelter  it  shows  us  now. 

So-hailed  be  the  fort;  sorrow  and  fear  it  heals! 


RUFFO     AS     RIGOLETTO 


iiiiiiiiiiijiiiiiia 

.niiiiiniii  i jj — ~~ 


RIGOLETTO 

OPERA    IN    THREE    ACTS 

Text  by  Piave,  adapted  from  Victor  Hugo's  drama  Le  Roi  s  'Amuse.  Music  by  Giuseppe 
Verdi.  First  produced  in  Venice,  March  II,  1851.  First  London  production  at  Coven t 
Garden,  May  14,  1853;  at  the  Italiens,  Paris,  January  19,  1857.  First  New  York  production 
November  2,  1857. 


Characters 
RIGOLETTO,  a  hunchback,  jester  to  the  Duke . 

DUKE  OF   MANTUA,  a  titled  profligate 

GILDA,  (Jeef-Jah)  daughter  of  Rigoletto 

SPARAFUCILE,  (Spahr-ah-foo-cheel')  a  hired  assassin 

MADDALENA,  (MaJ-Jah-Iay'-nah)  his  sister 

COUNT    MONTERONE   (Mon-tewh' -nay) 

COUNT  CEPRANO 

Courtiers,  Pages,  Servants. 


.  .Baritone 
. .  .  Tenor 
. . Soprano 

Bass 

.  Contralto 

.  .  Baritone 

...Bass 


Scene  and  Period :     Manlua  and  vicinity  ;   sixteenth  century. 


The  story  tells  of  the  gay  and  unprincipled  Duke  of  Mantua,  who  is  assisted  in  his 
crimes  by  his  jester,  Rigoletto,  a  hunchback.  The  father  of  one  of  the  Dune's  victims  is 
mocked  by  Rigoletto  and  launches  upon  him  a  father's  awful  curse,  which  stuns  and  sobers 
the  jester,  as  he,  too,  has  a  daughter,  Gilda,  unknown  to  the  court. 

On  his  way  home  Rigoletto  meets  a  professional  assassin,  Sparafucile,  who  offers,  for  a 
price,  to  kill  any  enemy  he  may  have.  Rigoletto  says  he  may  need  him  later.  The  Duke, 
in  the  guise  of  a  young  student,  has  already  met  Gilda,  not  knowing  who  she  is,  and  the 
young  girl  has  fallen  in  love  with  him.  When  R:golelto  has  left  the  house  the  Duke's 
courtiers  abduct  Gilda  and  take  her  to  the  Palace.  The  father's  rage  is  terrible  to  witness, 
and  he  goes  to  the  Palace,  but  too  late  to  save  his  daughter.  She  pleads  for  the  Duke's  life, 
but  Rigoletto  swears  to  kill  him,  and  arranges  with  the  assassin,  Sparafucile,  to  accomplish 
the  deed.  The  Duke  is  lured  to  a  lonely  inn  by  Sparafucile's  attractive  sister,  Maddalena, 
and  is  about  to  be  murdered  when  Maddalena,  who  has  taken  a  fancy  to  him,  begs  for  his 
life.  Sparafucile  consents  provided  a  substitute  should  happen  along  before  midnight.  Gilda, 

365 


VICTOR  BOOK  OF  THE  O  P  E  R  A  — V  E  RD  I 'S  RIGOLETTO 


SETTING    OF    ACT    I    AT    THE    MET 


whom  Rigoletto  had  brought  hither  (disguised  as  a  page)  in  order  that  she  might  witness  the 
fickleness  of  her  lover,  has  been  listening  to  the  conversation,  and  now  resolves  to  save  the 
Dune's  life  at  the  cost  of  her  own.  She  enters  the  hut,  is  stabbed  by  Sparafucile,  who 
delivers  the  body  to  Rigoletto  according  to  agreement.  Rigoletto  is  about  to  cast  the  body 
into  the  river  when  he  hears  the  Dul^e  's  voice  in  the  distance.  The  wretched  man  opens 
the  sack,  sees  his  daughter  and  falls  senseless  on  her  body. 

ACT    I 

SCENE  I— Ballroom  in  the  Duke's  Palace 

As  a  fete  is  in  progress  in  the  ducal  residence,  the  Dufae  confides  to  one  of  his  courtiers 
that  he  is  about  to  make  a  new  conquest.  For  some  months  he  has  seen  a  young  and 
beautiful  girl  at  church,  but  knows  nothing  of  her  except  that  she  is  visited  often  by  a  man 
who  is  supposed  to  be  her  lover.  The  Duke  then  sings  his  first  air,  Questo  o  quella. 

Questa  o  quella  ('Mid  the  Fair  Throng) 

By  Enrico  Caruso,  Tenor  (In  Italian)     87O18     lO-inch.  $2.OO 

By  Florencio  Constantino,  Tenor  (In  Italian)     64O69     lO-inch,     1.00 

This  melodious  number  is  perhaps  the   best  of  the   Dune's  solos,  though   usually  cast 
somewhat  in  the  background  by  the  popular  La  donna  e  mobile.       In  it  the  Duffe  announces 
himself  as  a  man  of  pleasure,  sets  forth  his  code  of  morals,  and  boasts  of  his  conquests. 
DUKE: 
'Mid   the    fair   throng   that    sparkle   around   me,         As  a  dove  flies,  alarm'd,  to  seek  shelter. 

Not  one  o'er  my   heart  holds  sway;  Pursued    by    some    vulture,    to    bear    it    aloft 

Though     a     sweet     smile     one     moment     may  in   flight, 

charm  me,  Thus  do  I   fly  from  constancy's   fetter: 

A    glance    from    some    bright    eye    its    spell  E'en  women's  spells  I  shun — all  their  efforts 

drives  away.  I  slight. 

All  alike  may  attract,  each  in  turn  may  please;         A  husband  that's  jealous  I  scorn  and  despise, 
Now  with  one  I   may  trifle  and  play.  And  I  laugh  at  and  heed  not  a  lover's  sighs; 

Then   another   may  sport  with  and  tease —  If  a  fair  one  take  my  heart  by  surprise, 

Yet    all     my     heart    to     enslave     their     wiles         I  heed  not  scornful  tongues  or  prying  eyes.  . 
display. 

Caruso's  interpretation  of  the  Duke  is  quite  different  from  the  one  to  which  opera-goers 
have  been  accustomed.  He  does  not  picture  Mantua  as  a  deliberate  villain,  a  fiend  in 
human  guise,  but  as  a  light-hearted,  careless  and  irresponsible  devotee  of  pleasure, — so 
attractive  that  the  infatuation  of  Gilda  seems  wholly  natural.  This  air  is  always  sung  by  the 
tenor  with  perfect  ease  and  extreme  brilliancy,  and  the  record  is  a  superb  one,  not  sur- 
passed by  any  in  his  list. 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  V  E  R  D  I  *  S  RIGOLETTO 


Constantino,  who  has  made  a  great  success  as  the  Duke  in  recent  seasons,  both  at  the 
Manhattan  Opera  and  in  Boston,  sings  this  gay  air  with  grace  and  abandon. 

After  making  another  enemy  in  the  person  of  the  Count  Ceprano,  by  his  marked  atten- 
tion to  the  latter  s  wife,  the  Duke  departs.  Marullo  enters  and  eagerly  announces  to  the 
courtiers  a  rich  discovery.  Rigoletto,  the  Dune's  jester,  is  in  love!  The  courtiers  refuse  to 
believe  this,  as  Rigolttto  is  known  as  a  confirmed  woman-hater.  Marullo  insists  that  the 
jester  makes  frequent  visits  to  a  young  girl.  The  nobles,  who  all  hate  Rigoletto  for  his  cruel 
tongue,  are  eager  to  turn  this  knowledge  into  a  means  of  revenge,  and  agree  to  meet  Ceprano 
the  next  evening  for  a  rare  adventure. 

The  voice  of  the  aged  Count  Monterone,  -whose  daughter  is  one  of  the  recent  victims  of 
the  Duke,  is  now  heard  outside  demanding  admittance.  He  throws  aside  the  guards  who 
seek  to  stop  him,  and  entering,  denounces  the  Duke  for  his  crimes. 

Ch'io  le  parli  (I  Will  Speak  to  Him) 

By  Francesco  Cigada,  Baritone;  Aristo- 
demo  Sillich,  Bass ;  La  Scala  Chorus 

(In  Italian)    *6819O      12-inch,   $1.25 

Rigoletto  ridicules  and  mocks  the  old  man,  who 
calls  him  a  "vile  buffoon,"  and  then,  in  an  awful 
rage,  utters  so  terrible  a  curse  upon  him, — the 
curse  of  a  father,  —that  all  are  horrified. 

Rigoletto  is  stunned  and  sobered  by  this  terri- 
ble malediction,  for  he,  too,  has  a  daughter,  un- 
known to  the  court;  and  love  for  his  child  and 
respect  for  her  dead  mother  are  the  sole  redeem- 
ing traits  in  his  cruel  nature. 

Monterone  is  removed  by  the  guards,  and  the 
scene  changes  to  the  street  in  front  of  Rigoletto' s 
house. 

SCENE  11— A  Street ;   Rigolelto  's  Cottage  on  one  side, 

opposite  the  Palace  of  Count  Ceprano 
The  jester  enters,  brooding  with  superstitious 
fear  over  the  curse  which  had  been  laid  upon 
him.  He  is  accosted  by  Sparafucile,  a  professional 
assassin,  who  offers  to  rid  him  of  an  enemy  if  he 
has  one.  Rigoletto  looks  at  him  thoughtfully  and 
says  that  if  he  has  need  of  his  services  he  will 
inform  him.  Sparafucile  departs  and  Rigoletto 
delivers  his  famous  monologue. 

Monologo — Pari  siamo     ("We  Are  Equal) 

By  Mario  Sammarco,  Baritone  (In  Italian)      8832O      12-inch,  $3.OO 

By  Titta  Ruffo,  Baritone  (In  Italian)     92041      12-inch,     3.OO 

By  Ernesto  Badini,  Baritone  (In  Italian)  *45032     lO-inch,     l.OO 

He  looks  at  the  retreating  form  of  the  bravo  and  says: 

Tells  me,  between   sleeping  and   waking: 

"Come,   buffoon,    I   would   laugh   now! 

Oh  shame,  I   must  obey  him ! 

Oh  life  accursed!     How  I   hate  ye. 

Race  of  vile  and  fawning  courtiers! 

'Tis  my  only  joy  to  taunt  ye! 

For  if  I   am  vile,   'tis  to  your  vice  I  owe  it! 

(He  thinks  of  his  home  and  daughter.) 

In   that  blest  abode   my   nature   changes! 

(Again  he  remembers  the  curse.) 

How  heavy  was  that   old  man's  curse! 

Still   I  hear  it;  'tis  ringing  in  my  ears! 

My  soul   is  troubled — fear   I   some   misfortune? 

Ah,  no,  this  is  folly! 
affectionately  greeted   by   GilJa,  who  comes 


!RS     HIS     SERVICES 


RICOLETTO: 

Yon  assassin  is  my  equal — 
He   stabs  in   darkness, 
While   I   with  a  tongue   of  malice 
Stab  men  by  daylight! 
(He  thinks  of  Monterone's  curse.) 
He  laid  a  father's  curse  on  me.     .     .     . 
(Continuing  in  a  burst  of  rage.) 
Oh   hideous  fate!     Cruel   nature! 
Thou  hast  doom'd  me  to  a  life  of  torment. 
I  must  jest,  I  must  laugh, 
And  be  their  laughing  stock! 
Yonder  the    Duke,   my  master, 
Youthful   and   brilliant,   rich   and  handsome, 
The   jester   enters    the    court-yard   and 
from    the    house.     She 


*  Douhle-FaceJ  RecorJ—Fo 


notes    his    anxious    looks    and   begs   him   to   confide   in    her.     She 
title  ofonftosU:  side  **  DOUBLE-FACED  RIGOLETTO  RECORDS,  page  378. 
367 


iimiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiiiiiiininiiniiiiiiiir  Jiiiiiiiiiiiiiiiniii 


VICTOR  BOOK  OF  THE  O  PE  R  A  —  VE  RD  I  *S  RIGOLETTO 


asks  him  about  her  mother,  whom  she  but  dimly  remem- 
bers. Rigoletto  avoids  her  question  and  sings  a  pathetic  air, 
in  which  he  begs  her  to  refrain  from  questions  regarding 
their  past  life.  The  duet  then  follows  : 

Deh  non  parlare  al  misero      (Recall  Not 
the  Past) 

By  Mme.  Magrini,  Soprano,  and  Titta  Ruffo, 
Baritone      (In  Italian)     89058      12-inch,  $4.OO 

RiGOLETTo: 

Recall  not  the  past! 

Si  ieak  not  of  one  whose  loss  to  thec 

All  earth  can  boast  could  ne'er   restore; 

Her   angel    form    methinks    I    see. 

Who  lov'd  me,  though  deform'd  and  poor. 

Pity,  oh!  Gilda;  spare  me! 

GILDA: 

Father,  dear  father,  calm  yourself, 
Or  my  heart  will  surely  break. 
To  me  your  name  pray  tell; 
The  grief  that  saddens  you  impart. 


RIGOLETTO: 

Thou  art  my  country,  family  and  friends! 
1      universe  thou  art  to  me! 


The  whole 


Ah!  if  happier  I  could 
What  joy  to  my  heart 


lake  yo 
vould  bring! 


SAM) 

RICOLETTO: 

'Twere  useless  myself  to  discover; 
Suffice  it  that  thy  father   I  am. 
Some  in  the  world  there  are  who  fear  me, 
In  others,  perhaps,  envy  I  excite. 
Hut  one  there  is  who  has  curs'd  me!  G 

GILDA: 

Country,  family,  possess  you  none? 
He  embraces  her  tenderly,  then,  recalling  the  curse,  solemnly  enjoins  her  to  keep 
within  the  house  and  never  venture  into  the  town.  Gilda  says  she  has  only  been  to 
Mass  each  Sunday,  but  does  not  tell  him  of  the  student  with  whom  she  had  exchanged 
fond  glances.  Rigoletto  summons  the  maid,  Giovanna,  and  questions  her,  beginning  another 
lovely  duet,  full  of  pathos. 

Veglia  o  donna     (Safely  Guard  This  Tender  Blossom) 

By  Maria  Galvany  and  Titta  Ruffo  (In  Italian)      9150O      lO-inch,  $3.OO 

He  warns  the  maid  to  always  closely  guard  her  mistress  from  any  danger. 

RIGOLETTO:  GILDA: 

Ah !    such   fear   for   me   revealing, 

Father  dear,   why  thus  display? 

One    from    whom    there's    no   concealing 


)in. 


Safely    guard    this    tender   bios: 

Which   to  thee   I   now  confide; 

In   her   guileless   heart  and  bosom 

May  no  thought  of  ill  betide;  Guides  me 

Rigoletto  bids  his   daughter  a   tender  farewell   and    takes 

his  departure.     The  Dul^e,   again  dressed  as  a  student,  now 

enters,  having   previously  purchased  the  silence  of  Giooanna. 

Gilda  is   alarmed,  not  thinking  her  innocent   flirtation   in 

the   church  would  lead  to  this,  and  bids  him  begone,  but  he 

reassures  her,  beginning  a  fine  duet. 

E  il  sol  dell'  anima   (Love  is  the  Sun) 

By  Giuseppina  Huguet  and  Fernando  de  Lucia 

(In  Italian)     92O56      12-inch,  $3.OO 
By  Alice  Nielsen  and  Florencio  Constantino 

(In  Italian)      74O63      12-inch,     1.5O 

He  soothes  her  fears,  telling  her  he  loves  her  with  a  pure 
devotion. 

UUKE: 

Love  is  the  sun   by  which  passion  is  lighted, 
Happy    the    mortal    who    feels    its    power; 
Kach    pleasure    once    priz'd    without    it    seems 

blighted; 

With  it  we   heed  not  what   fate   may  shower. 
Peeling  celestial,   no  joy  terrestrial 
Ever  to   me  can  such  sweet  joys  impart. 
Ah!    may   no   blight   ever   this   heart    from    thee 

Rest   in   my  bosom,   ne'er  to  depart! 


er   on  my   way 


VICTOR    BOOK    OF    THE    O  P  E  R  A  —  V  E  RD  I 'S    RIGOLETTO 


ACT    I,    SCENE    II 

Footsteps  are  now  heard,  and  after  a  tender  farewell  he  leaves,  after  telling  her  that 
his  name  is  Walter  Malde. 

Gilda  remains  pensively  gazing  at  the  gate  through  which  the  pretended  student  has 
departed.  In  rapturous  soliloquy  she  sings : 

GILDA: 

Walter   Malde!     That  romantic  name!  Walter,    I    love   thee, 

Already  it   is   on   my  heart  engraven!  Ev'ry  fond,  tender  thought  for  the°  I  cherish! 

Caro  nome  (Dearest  Name) 

By  Luisa  Tetrazzini,  Soprano 

By  Marcella  Sembrich,  Soprano 

By  Nellie  Melba,  Soprano 

By  Graziella  Pareto,  Soprano 

By  Edith  Helena     (Double-faced— See  page  378) 

By  Marie  Michailowa,  Soprano 

Then  the  lovely  air,  Caro  Nome,  begins. 
GILDA: 

Carv'd  upon  my  inmost  heart 

Is  that  name   forevermore 

Ne'er  again   from   thence   to  part, 

Name   of   love   that    I   adore, 

Thou  to  me  are  ever  near, 

Ev'ry  thought  to  thee  will  fly, 

Life   for  thee  alone  is  dear, 

Thine  shall  be  my  parting  sigh! 

(Gilda   enters  the  house,   but  reappears  on   the 

'  balcony.) 
Oh,   dearest  name! 
Oh  name  beloved! 

Melba's  rendition  is  worthy  of  so  exquisite  a  number,  and  she  has  surpassed  herself 
here.  The  ease  with  which  she  sings  is  wonderful,  and  her  voice  shows  in  an  unusual  de- 
gree that  luscious  smoothness,  golden  purity  and  perfect  equality  for  which  it  is  noted. 

The  character  of  Gilda  is  always  represented  by  Mme.  Sembrich  with  genuine  simplicity, 
yet  with  truly  impassioned  feeling  -where  occasion  calls  for  it;  as  in  this  tuneful  "Caro 
nome,"  -when  the  young  girl  in  soliloquy  dwells  -with  rapture  on  the  name  of  her  lover. 

Tetrazzini's  delivery  of  this  lovely  air  is  marked  by  surpassing  beauty  of  tone,  the 
roulades,  trills  and  staccatos  in  the  concluding  portion  being  poured  out  lavishly  and  -with 
the  utmost  ease  and  fluency.  Other  adequate  renditions,  at  lower  prices,  are  also  listed  above. 
Night  has  now  fallen  and  the  courtiers,  led  by  Ceprano,  enter,  wearing  masks.  Rigo- 
letto  returns  and  is  much  alarmed  to  see  them  in  this  neighborhood,  but  his  fears 
are  allayed  -when  they  announce  that  they  have  come  to  carry  off  Ceprano' s  wife,  as 

370 


(In  Italian)      88295      12-inch, 

$3.OO 

(In  Italian)      88O17      12-inch, 

3.0O 

(In  Italian)      88O78      12-inch, 

3.00 

(In  Italian)      76007      12-inch, 

2.00 

S)       (In  English)      35067      12-inch, 

1.25 

(In  Russian)      61141      lO-inch, 

l.OO 

(She     disappears,     but     can     be     heard 

from 

within.) 

Oh!  name  beloved! 

Dear  name,   within   this  breast, 

Thy  mem'ry  will   remain! 

My   love   for   thee   confess'd, 

No  power  can   restrain! 

Carved  upon   my   inmost  heart 

Is   that   name   for   evermore. 

Ev'ry  thought  to  thee  will  fly, 

Thine    shall   be   my    parting   sigh, 

Oh   Walter   mine! 

VICTOR  BOOK  OF  THE  OPE  R  A  —  VERD I 'S  RIGOLETTO 


he  is  well  aware  that  the  Duke 
has  had  designs  on  that  lady 
for  some  time  past.  He  tells 
them  Ceprano  's  palace  is  on 
the  opposite  side  and  offers  to 
help  them.  They  insist  that 
he  must  be  disguised  and 
contrive  to  give  him  a  mask 
which  covers  his  eyes  and 
ears,  and  lead  him  in  a  circle 
back  to  his  own  balcony,  giv- 
ing him  a  ladder  to  hold. 
Gilda  is  seized,  her  mouth 
gagged  with  a  handkerchief, 
and  she  is  carried  away. 

Rigoletto,  suddenly  finding 
himself  alone,  becomes  suspi- 
cious, tears  off  his  mask  and 
finds  himself  at  his  own  bal- 
cony. Frantic  with  fear  he 
rushes  in,  finds  his  daughter 
gone,  and  falls  in  a  swoon  as 
the  curtain  descends. 


THE    ABDUCTION    OF    GILDA 


ACT  II 


SCENE— A  Hall  in  the  Duke's  Palace 

Parmi  veder  le  lagrime    (Each  Tear  That  Falls) 

By  Enrico  Caruso,  Tenor  (In  Italian)     88429     12-inch.     $3.OO 

The  Duke,  after  his  tender  parting  with  Qilda,  in  the  previous  act,  had  again  returned 
to  the  Jester's  house,  only  to  find  it  deserted  and  the  young  girl  gone.  Not  knowing  that  his 
courtiers  had  carried  her  off  under  the  very  nose  of  Rigoletto,  he  bewails  the  unhappy  fate 
•which  has  robbed  him  of  his  latest  conquest.  As  we  hear  him  sing  his  pathetic  lament, 
we  forget  his  real  nature  and  almost  sympathize  with  the  unhappy  lover ! 

This  melodious  number  has  been  much  neglected  in  American  performances  of  the 
opera,  being  usually  omitted. 


THE  DUKE: 

Dear  maid,  each  tear  of  thine  that  falls, 
Each  sad  sigh  that  bosom  heaving 
Pining   within   some   dreary   walls, 
Fills  me  with  grief  there's  no  relieving. 
Ah!  vainly  didst  thou  cry  to  me, 
"Help   me.   dear   Walter,   help!" 


No  aid  could  I  afford  thee; 

Yet,  could  my  life  thy  woes  repay, 

Gladly  exchang'd  it  should  be. 

Not  e'en  the  angels'  blessed  abode 

Could  peace  to  me  restore, 

If  from  thee  apart. 


The  courtiers  enter  and  tell  the  Duke  that  they  have  captured  Rigoletto 's  mistress.  He 
expresses  his  appreciation  of  the  adventure,  not  knowing  they  had  abducted  the  young  girl 
he  had  just  left,  and  asks  for  particulars.  They  sing  their  chorus,  ScorrenJo  unite. 

Scorrendo  unite  remota  via     (On  Mischief  Bent) 

By  New  York  Grand  Opera  Chorus  (In  Italian)     64O49     lO-inch.  $1.OO 

which  gives  the  details  of  the  huge  joke  they  have  played  on  Rigoletto  by  making  him  assist 
in  the  capture  of  his  own  mistress. 
COURTIERS: 

Unto   a   lonely   abode   directed. 
When    shades'  of   evening    were    falling    fast, 
By   dark'ning   shadows   we    were    protected 
Until   our  game   we   spied  at  last; 

footsteps  she  scarce  came  nigh   us, 


With   timi 

We   were   preparing   our   prey  to  seize 

When  Rigoletto  just  then  came  by 


With  angry  brow  and  ill  at  ease. 

And  that  the   joke  might   be  all   the  madder, 

We  said  Ceprano's  wife  should  be  our  prey, 

We  then  desir'd  him  to  hold  the  ladder; 

His  eyes  were  bandag'd,  he  did  obey. 

We  swiftly  mounted  to  the  room, 

And  the  startled  beauty  bore  away! 

When  the  Duke  learns  that  Gilda  is  in  an  adjoining  room  he  joyfully  goes  to  her,  saying 
that  her  fears  will  be  soothed  when  she  discovers  he  is  the  Walter  Malde  she  loves. 

Then  occurs  one  of  the  most  dramatic  scenes  in  the  opera,  and  the  greatest  opportunity 
for  Rigoletto.  This  scene  has  been  recorded  in  its  entirety  by  Amato,  one  of  the  greatest  of 
Rigolettos,  assisted  by  Bada,  Setti  and  the  Metropolitan  Chorus. 

371 


VICTOR  BOOK  OF  THE  O  PE  R  A  — VE  RD  I 'S  RIGOLETTO 


Povero  Rigoletto!    (Poor  Rigoletto!) 

By  Pasquale  Amato,  with  Bada,  Setti  and  Chorus 


8834O     12-inch,  $3.OO 


Rigoletto's  voice  is  now   heard  outside,  .singing  a  careless  air.      He  enters,  affecting  in- 
difference, but  trying  to  find   some  clue'*to'  GVWa'x.  whereabouts.      A  page  enters  with  a  mes- 


sage for  the  Duffe  and   the  courtiers   te-11  himVirfftir   master  cannot    be    disturbed.      Rigoletto 
listens,  his  fears  becoming  confirmed,  and  he*ex<|lsims  : 

W  RIGOLETTO: 

Yes,   my   daughter! 

The   maid  whom   you   last   nij;ht 

From   my    roof   carried   hither. 

Ah,   she  is  there,   I  know  it! 

(Rushes  toward  the  door,  but  the  courtiers  bar 


RlGOLKTTo: 

Ah,    shei  must   be   here   then  ! 
In   yonder,  chamber! 

Go   somewhere   &.§&  to   seek   her! 
RIGOLETTO    (.with  njlfrible   emphasis): 

Give  me  my   daughter ! 
COURTIERS    (in   astonishment): 

What,    his    daughter! 


lost, 


his   passage   and   a    terrible   struggle   occ 
he  is  then-!   stand  back.   I  tell  ve! 


His  rage,  now  terrible  to  witness,  is  expressed  in  the  second  part,  Cortigiani,   vil  razza. 

Cortigiani,  vil  razza  dannata  (Vile  Race  of  Courtiers) 

By  Pasquale  Amato,  Baritone  (In  Italian)      88341      12-inch,  $3.OO 

By  Titta  Ruffo,  Baritone,  and  La  Scala  Chorus      (Italian)      92066      12-inch,     3.OO 
By  Emilio  Sagi-Barba,  Baritone  (In  Spanish)      74161      12-inch,      1.50 

By  Renzo  Minolfi,  Baritone  *16573      lO-inch,        .75 

He  at  first  denounces  them  as  abductors  and  assassins,  then  breaking  down,  asks  for  pity. 


RIGOLETTO: 

Race  of  courtier 


rabbi* 


Have  ye  sold  her,   whose  peace  ye  molested? 

Where  is  she?  do  not  rouse  me  to  madness — 

Though  unarm'd,  of  my  vengeance  beware, 

For  the   blood   of   some   traitor   I'll   pour! 

(Again  making  for  the  door.) 

Let   me   enter,   ye   assassins,   stand  back! 

That    door    I    must   enter! 

(He    struggles    again    with    the    courtiers    hi 

is  repulsed   and  gives    up   in   despair.) 
Ah,   I  see  it — all  against  me — have  pity! 

This  affecting  scene  is  ended  by  Gilda,  who  now  enters,  in  tears,  and  embraces  her  father. 


Ah,   I   weep  before  ye,   Marullo,   so  kindless? 
Others'  grief  never  yet  saw  thee  mindless. 
Tell,  oh  tell  where  my  child  they  have  hidden, 
Is't    there? — say    in    pity — thou'rt    silent!    alas! 
(In  tears.) 

Oh,  my  lords,   will  ye  have   no  compassion 
On   a    father's    despairing   intercession? 
Give   me   back  my   belov'd   only   daughter, 
Have  pity,   oh   give  me  back  my  child, 
In    pity,    oh    hear   me   implore ! 


RIGOLETTO    (overjoyed) : 
Gilda,   my   daughter! 
My  lost   one — my  treasure! 
Angel,    I've    found   thee! 
Come    tell    me,    'twas    but    jesting? 
(To    the    courtiers.) 
I   who  was   weeping   rejoice   now. 
(To  Gilda.) 
But  why  art  thou  weeping? 

The 


GILDA   (hiding  her  face): 

Dishonor,   oh   my   father! 
RIGOLETTO:    Horror!    what   say'st    thou? 
GILDA: 

Father,   oh   hide   me   from   ev'ry   eye  but   thine! 
RIGOLETTO    (imperiously,   to   the  courtiers): 

Hence,   I  command,  and  leave   us! 

If  the  worthless  duke  ye  serve  dares  approach, 

I   forbid   him   to   enter! 

Say  that,   I   charge   ye ! 
urtiers,   somewhat  ashamed,   obey,   and   Gilda  begins   her  pitiful  confession. 


Tutte  le  fedte  al  tempio  (On  Every  Festal  Morning) 

By  Marcella  Sembrich  and  G.  Mario  Sammarco  89042  12-inch,   $4.OO 

By  Olimpia  Boronat,  Soprano                                 (In  Italian]  88242  12-inch,     3.OO 

By  Laura  Mellerio  and  Ernesto  Badini              (In  Italian)  *45OOO  lO-inch,     l.OO 

By  Giuseppina  Huguet,  Soprano                            (In  Italian)  *62O83  10-inch,        .75 


GILDA: 

On   ev'ry   festal  morning 
Near   to   the    holy   altar, 
I    saw   a   youth   observing   me. 
Beneath   whose   gaze   mine   did    falter, 
Though  not  a  word  he  said  to  me, 
My   heart   his   meaning  well   did   know! 
Last  night   he   stood  before   me. 
Fondly  he  vow'd  to  love  me. 
And  I  gave  him  vow  for  vow. 

RIGOLETTO    (despairingly) : 

Ah!   that  thou  be  spared  my  infamy 
I've   wearied    Heaven    with   praying. 


Ah,   in   my   hopeless   misery, 

My  saint   I   have  enshrined  thee, 


In   horror  and   anguish   h 

Thy  future  all  turned  to 

(To  Gilda.) 

Daughter    come,    let    me 

sorrow — 
GILDA: 

Father! 
RIGOLETTO: 

Weep   here,   weep,   on  my 


I    must  find   the 
voe! 


comfort    thee 


thy 


That  every  gc 
Far   from    the 


rld's   betrayi,,K. 


ili,-, 


angel   doth 


*  Double-Faced  Record — For  title  of  opposite  side  . 


•DOUBLE-FACED  RIGOLETTO  RECORDS,  page  3  78. 

372 


VICTOR  BOOK  OF  THE  O  P  E  R  A  — VE  RD  I 'S  RIGOLETTO 


Piangi  fanciulla  (Weep,  My  Child; 

By  Maria  Galvany,  Soprano,  and  Titta  Ruffo,  Baritone 

(In  Italian)      925O2 


By  A.  Cassani,  Soprano,  and  F,  Federici,  Baritone 


12-inch.  $4.OO 


45O32      10-inch,     l.OO 


Following  the  duet  Rigoleito  exclaims  : 

RtGOLETTO: 

I  think  what  remains  yet  for  me  to  accomplish: 

This  fatal  abode  we  must  leave  on  the  instant. 
GJLDA: 

Yes,  my  father,  let  us  go! 
RIGOLETTO  (aside)  : 

Oh,    how    all    our   fate   has   been   changed    in    a 

The  Count  Monterone  now  passes  through  the  hall  under  guard.     He  pauses  before  the 
's  portrait  and  exclaims  : 

MONTERONE: 

Oh,   then,   'twas   in   vain   in   my  anger   I  cursed 

thee! 
No  thunder  from  Heaven  yet  hath  burst  down 

to  strike  thee. 
With     pleasure    triumphant    thy    days    yet    are 

(Exit"  guarded.) 
Rigoleito,  gazing  after  Monterone,  grimly  says  that  vengeance  will  not  be  long  delayed. 

Si  vendetta  (Yes,  My  Vengeance) 

By  Maria  Galvany,  Soprano,  and  Titta  Ruffo,  Baritone 

(In  Italian)     915O1      lO-inch,  $3.OO 
By  Laura  Mellerio  and  Ernesto  Badini  (In  Italian)  *45OOO     10-inch,     l.OO 

He  in  turn  gazes  on  the  £)u£e's  portrait  and  sings  fiercely: 
RICOLETTO:  GILDA   (timidl\)  : 

But    'twill    not    be    long    thus,    the    avenger    is         Heav'n   doth   know  his  crime  atrocious, 


nigh. 


(Impetuously.) 
Yes,    my    vengeance 


hath    doomed    thee 


Heartless  fiend,  'tis  my  sole  consolation, 
That  ere  the  flames  of  Hell  entomb  thee, 
Thou  shalt  feel  a  father's  wrath. 

GILDA: 

Oh   my   father,   a   joy   ferocious 

In   thy   words  doth   tell   of  danger — 

RIGOLETTO: 

To  vengeance!         . 


Oh,    might   I   avert   its   wrath — 
RIGOLETTO: 

To    vengeance! 
GILDA: 

(In   my   heart  there's  nought   of  anger.) 
RIGOLETTO: 

Yes,  to  vengeance  fierce  I  doom  thee — 

Thou  shalt  feel  a  father's  wrath! 
GILDA: 

Oh,  forgive  him! 

Ah,   might  I  avert  the  wrath  of  Heaven 

(They  depart.) 


SPARAFUCILE'S  DEN — ACT  i 


*  Double-FaceJ  Record— For  title  ofoppoaite  tide 


DOUBLE-FACED  RIGOLETTO  RECORDS,  page  378. 
373 


VICTOR    BOOK    OF    THE    O  P  E  R  A  — VE  RD  I 'S    RIGOLETTO 

ACT   III 

SCENE  I— A  Lonely  Spot  on  the  River  Mincio 

A  house,  half  in  ruins,  at  one  side.  The  front  of  the  house,  open  to  the  spectator,  shows 
a  rustic  inn  on  the  ground  floor ;  a  broken  staircase  leads  from  this  to  a  loft,  where  stands  a  rough 
couch.  On  the  side  towards  the  street  is  a  door,  and  a  low  wall  extends  backwards  from  the 
house.  The  Mincio  is  seen  in  the  background,  behind  a  ruined  parapet;  beyond,  the  towers  of 
Mantua.  It  is  night.  Sparafucile  is  in  the  house,  seated  by  a  table  polishing  hts  belt,  unconscious 
of  what  is  spoken  outside. 

Rigoletto  and  Gilda,  the  latter  in  male  attire,  now  approach  the  inn.  Rigoletto  pityingly 
asks  his  daughter  if  she  still  can  love  the  Duke.  She  confesses  that  she  does,  and  he 
exclaims : 

RIGOLETTO:  GILDA: 

Thou  lov'st  him?  Nay,  rather  pity. 

GAtwavs  RIGOLETTO: 

RIGOLETTO  •  And    if     I     could     convince     thee     that     he     is 

Still  to  Jove  him  is  mere  infatuation.  worthless,  wouldst  thou  still  then  love  him? 

GILDA:  GlLDA. 

1  love  him.  Perhaps.     Ah,   he  does  love   me! 

RIGOLETTO: 

Ah,  tender  heart  of  woman!  RIGOLETTO    (leads   her  towards  the   house   to   look 

Oh,   base   despoiler!  through  a  fissure  in  the  wall): 

Thou,  my  child,  shalt  yet  have  vengeance.  Come   here,   and  look   within. 

She  does  so,  and  is  startled  to  see  the  Duke,  who  comes  in  disguised  as  a  soldier.  He 
demands  some  wine,  and  while  Sparafucile  is  serving  him,  sings  his  famous  La  donna  e  mobile. 

La  donna  e  mobile  (\*/oman  is  Fickle) 

By  Enrico  Caruso,  Tenor  (In  Italian)     87O17     10-inch,  $2.OO 

By  Florencio  Constantino,  Tenor  (In  Italian)     64072     lO-inch,     1.00 

By  Giuseppe  Acerbi,  Tenor  (In  Italian)   *62O83      lO-inch,        .75 

This  familiar  canzone,  beginning 


Ladon-nafcrno-bi-lequalpiu-maalven-to,  mu-tad'ac  -  cen-to    e    di  pen    sic  -  ro 
Wom-an    is  fick    -   te,  falscal-to'-g  eth-er.  Mav' d  lite  the fea-the  rborntbylhe  bree-xel 

is  perhaps  the  best  known  of  all  the  airs  of  the  opera.     Its  spontaneous  melody  pictures  the 
gay,  irresponsible  character  of  the  young  noble  who  thus  sings  of  changeable  womankind. 

DUKE: 

Woman   is  fickle,   false   altogether, 

Moves   like   a   feather   borne   on   the   breezes; 
Woman    with    guiling    smile    will    e'er    deceive 

Often   can    grieve   you.    yet    e'er    she   pleases, 
Her   heart's   unfeeling,    false   altogether; 
Moves  like  a  feather  borne  on  the  breeze, 
Borne  on  the  breeze,  borne  on  the  breeze! 

Wretched    the    dupe    is,    who    when    she    looks 
kindly, 

Trusts   to   her   blindly.     Thus   life   is   wasted! 
Yet  he  must  surely  be  dull  beyond  measure, 

Who  of   love's  pleasure  never   has  tasted. 
Woman    is    fickle,    false    altogether, 
Moves  like  a  feather,  borne  on  the  breeze! 

Caruso  delivers  the  gay  air  with  an  ease   and   abandon  which   are   infectious,  and   sings 
the  difficult  cadenza  in  the  second  verse  with  unusual  effectiveness. 
Other  renditions  are  given  at  varying  prices. 

*  Double-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FACED  RIGOLETTO  RECORDS,  page  3  78. 

374 


VICTOR  BOOK  OF  THE  O  P  E  R  A  — VE  RD  I 'S  RIGOLETTO 


At  the  close  of  the  Duke 's  song  Sparafucile  enters  with  the  wine.     He  knocks  twice  on 
the  ceiling  and  a  young  girl  comes  down.      The  Duke  tries  to  embrace  her  but  she  laughingly 

escapes  him.     Now  occurs  the   great  Quartet,  one 
of  the  most  famous  of  concerted  pieces. 

Quartet— Bella  figlia  deiramore 

(Fairest  Daughter  of  the  Graces) 

By  Bessie  Abott,  Soprano;  Louise 
Homer,  Contralto ;  Enrico  Caruso, 
Tenor;  Antonio  Scotti,  Baritone 

(In  Italian)      960OO      12-inch,   $6.OO 
By  Marcella  Sembrieh,  Mme.  Sev- 
erina,    Enrico     Caruso    and    An- 
tonio   Scotti 

(In  Italian)      96OO1      12-inch,     6.OO 
By  Giuseppina  Huguet,  Emma  Zac- 
caria,     Carmelo     Lanzirotti    and 
Francesco  Cigada 

(In  Italian)   *68O67      12-inch, 


By  Victor  Opera  Quartet 

(In  Italian)      7OO73      12-inch, 
By  Kryl's  Bohemian  Band 

*35239      12-inch, 

By     Huguet,    Zaccaria,    Lanzirotti, 

and  Cigada  58359     12-inch, 

By  Pry  or 's  Band     31471      12-inch, 

By  Pryor's  Band  *  162  76     lO-inch, 


1.25 
1.25 
1.25 

1.00 
l.OO 

.75 


Among  the  musical  gems  with  which  the  score  of  Rigoletto  abounds,  none  is  so  well 
known  and  universally  admired  as  this  fine  number,  sung  by  the  Duke,  Gilda,  Maddalena 
and  Rigoletto.  It  is  undoubtedly  the  most  brilliant  and  musicianly  of  all  Verdi's  concerted 
pieces,  and  the  contrasting  emotions — the  tender  addresses  and  coquetry  on  the  one  side, 
and  the  heart-broken  sobs  of  Gilda  and  the  cries  for  vengeance  of  her  father  on  the  other — 
are  pictured  with  the  hand  of  a  genius. 

No  less  than  five  records  of  this  great  number,  in  various  classes,  also  three  instrumental 
renditions,  are  offered  by  the  Victor.  The  singers  •who  have  been  engaged  for  these  records 
are  all  noted  for  their  artistic  interpretations  of  the  characters  represented.  Caruso's  Duke, 
with  its  glorious  outpourings  of  luscious  voice  in  the  lovely  airs;  Sembrieh 's  perfect  por- 
trayal with  its  wonderful  vocalization;  Abott's  girlish  and  brilliantly  sung  imper- 
sonation ;  Homer's  Maddalena, 
which  is  fascinating  enough 
to  attract  any  Duke,  and  whose 
one  vocal  opportunity  occurs 
here;  Scotti's  truly  wonderful 
and  superbly  sung  Jester,  one 
of  the  most  powerful  im- 
personations on  the  operatic 
stage — all  these  are  familiar 
and  admired  portrayals;  while 
the  artists  who  render  the 
black  label  records  are  all 
well-known  and  competent 
singers. 

The  situation  at  the  open- 
ing of  the  act   is  a  most  dra-       _ 
maticone.    The  Duke,  gay  and       '"OTO  *'"•'•  THE  QUARTET — ACT  in 

*  Doubk-FaceJ  RecorJ-For  title  of  oppodfe  ./* **  DOUBLE-FACED  RIGOLETTO  RECORDS,  page 378. 

375 


VICTOR     BOOK    OF    THE     O  PE  R  A  —  VE  R  D  I 'S     RIGOLETTO 


careless,  is   making   love    to   Maddalena,  all  unconscious   that  the  assassin'  hired  by   Rigolettc 

is  waiting  for  his  opportunity. 

He  sings,  beginning  the  quartet: 

DUKE: 

Fairest   daughter   of  the  graces, 

I  thy  humble  slave  implore  thee, 

With   one   tender  word  to   joy   restore   me, 

End  the   pangs,   the   pangs   of   unrequited   love. 

Of  my  anguish  see  the  traces, 

Thee  I   treasure  all  above. 

With  one  tender  word  to 


End  the   pangs,   th 


joy  restore  me, 
pangs   of   unrequited  l 


MADDALENA   (repulsing  him)  : 
I   appreciate   you    rightly, 
All  you   say   is  but  to  flatter. 
Ah,  I  laugh  to  think  how  many 
Yet  your  tender  tale  may  move! 

Rigoletlo,  who  desires  to  prove  to  Gilda  that  her  lovei 
is  false,  bids  her  look  through  the  window  of  the  inn  at 
the  scene  within.  The  unhappy  girl,  convinced,  exclaims  : 


Ah,  to  speak  of  love  thus  lightly  ! 
Words  like  these  to  m 


He  is  false;  my  heart 
RIGOLETTO: 


were  spoken, 
broken ! 


thee, 


Silence,   thy   tears   will   not  avail 

It  were  baseness  to  regret  him ! 

Thou   must  shun   him   and  forget  him. 

(With  fierce  joy.) 

Thy  avenger  I  will  prove 

The  strength  to  punish  will  not  fail  me 

That   I   vow   to   every   power  that   rules   above! 


The  Duke  now  goes  to  his  bedroom  and 
to  Verona  with  all  speed  and 
he  •will  meet  her  there.  She 
reluctantly  departs  and  Rigo- 
letto pays  Sparafucile  half  his 
price,  the  remainder  to  be 
paid  on  the  delivery  of  the 
body  of  the  Duke  at  midnight. 
Rigoletto  goes  away  just  as 
Gilda,  who  has  disobeyed  her 
father,  returns  and  tries  to  see 
•what  is  going  on  inside  the 
house.  Sparafucile  enters  the 
house  and  Maddalena,  •who 
has  taken  a  fancy  to  the  Duke, 
begs  her  brother  to  spare  his 
life,  delicately  suggesting  that 
he  kill  Rigoletlo  and  take 
the  money  from  him.  Spara- 
fucile is  indignant  and  pro- 
tests that  he  has  never  yet 
failed  in  his  duty  to  his  em- 
ployers. Maddalena  pleads 
•with  him  and  he  finally  says 
if  another  guest  should  enter 
he  •will  kill  him  instead  of 
the  Duke. 


Rigoletto  bids  his  daughter  go 


SPARAFUCILE: 

If  some  one  should  enter  ere  midnight  has  sounded. 

I  promise  that  he  for  thy  favorite  shall  die! 
GILDA: 

Oh,  what  a  temptation!  my  fate!  I  have  found  it, 

Tn  silence  and  darkness,  to  save  him  and  die! 

378 


VICTOR  BOOK  OF  THE  O  P  E  R  A  — VE  RD  I 'S  RIGOLETTO 

During  this  dramatic  scene  a  storm  is  raging,  and  in  addition  to  the  stage  effects  of 
thunder  and  lightning  Verdi  has  the  chorus  humming  in  chromatic  thirds  to  illustrate  the 
moaning  of  the  wind.  This  scene  is  given  here  in  a  most  impressive  record. 

Tempesta— Somiglia  un  Apollo  (He's  Fair  as  Apollo) 

By  Linda  Brambilla,  Soprano ;    Maria  Cappiello,  Mezzo-Soprano  ;  Aristo- 

demo  Sillich,  Bass  :  and  La  Scala  Chorus  (In  Italian)  *6819O  12-inch,  $1.25 
Gilda  hears  this  terrible  agreement  and  the  broken-hearted  girl  resolves  to  sacrifice  her 
own  life  to  save  that  of  her  false  lover.  She  knocks  at  the  door,  is  seized  and  stabbed  by 
the  bandit  and  her  body  wrapped  in  a  sack.  Rigoletio  soon  returns,  pays  the  remainder  of 
the  price  agreed  upon,  and  receives  the  body.  Sparafucile,  fearing  that  Rigoleito  will  discover 
the  substitution,  offers  to  throw  the  body  into  the  river.  The  Jester  says  he  will  do  it  him- 
self and  bids  the  bravo  depart. 

Left  alone,  the  Jester  gazes  on  the  body  with  a  horrible  satisfaction,  saying: 
RIGOLETTO: 

He  is  there,   pow'rless!      Ah,   I   must   see   him;         Yes,  my  foot  is  upon  him! 
Nay,    'twere    tolly!    'tis    he   surely!      I    feel    his         My  grief  has   vamsh'd, 

spurs   here.  "Tis  turned  to  joy  triumphant; 

Look  on  me  now  ye  courtiers!  Thy  tomb  shall   be  the  waters, 

Look  here  and  tremble,  This  coarse  sack  thy  shroud  and  grave  cloth! 

Here  the  buffoon  is  monarch!  Away,    now! 

He  is  about  to  drag  the  sack  towards  the  river,  when  he  hears  the  voice  of  the  Duke 
leaving  the  inn  on  the  opposite  side. 
'UUKE: 

Woman    is   fickle,    false   altogether,    etc. 
RIGOLETTO   (tearing  his  hair): 

That  voice!   Am  I  mad?   What  fiend  deludes  me? 

No,   no,   no!   here   I   hold  him! 

(Calling  to  the  house.) 

Hola,  thou   thief,   thou   bandit! 

(The  Duke's  voice  dies  in  the  distance.) 

Then   whom   have   I   within    here? 

I   tremble — the  form   is  human! 

(With   utmost   horror,   recognizing   Gilda.) 

My  daughter,  oh,   Heav'n,  my  daughter! 

Ah,  no!    Not  my  daughter!     She  is  in  Verona! 

'Tis  a  dream! 

Then  begins  the  wonderful  final  duet,  a  fitting  end  to  such  a  noble  and  powerful  work, 
and  a  number  which  is  unfortunately  omitted  in  American  performances  of  the  opera. 
However,  the  Victor  customer,  more  fortunate  than  the  opera-goer,  may  hear  it  at  his 
pleasure. 

Lassu  in  cielo   (In  Heaven  Above) 

By  Graziella  Pareto  and  Titta  Ruffo  (In  Italian)      925O6      12-inch.  $4.OO 
By  Giuseppina  Huguet  and  Renzo  Minolfi       (In  Italian)   *68O67      12-inch,      1.25 

RIGOLETTO:  The  assassin  deceived  me.     Ilola!        •  *» 

'Tis    Gilda!  (Knocks  desperately  on  the  door  of  Hie  house.) 

(Kneeling.)  No   answer!    despair!    my   daughter*    my   Gildai 

Child  of  sorrow!  my  angel,  look  on  thy  father!  Oh,   my   daughter! 
The  young  girl,  who  is  not  yet  dead,  opens  her  eyes  and  cries  feebly: 

GILDA:  RIGOLETTO: 

Ah,   who  calls  me?  Child,   in   pity,    oh   speak  not' of  dying; 

RIGOLETTO:  Stay  thou  to  bless  me,  oh  lefcve  me   not  alone'. 

Ah,  she  hears  me!      She  lives  then!  GILDA    (feebly): 

Oh,   thou.   my   heart's  only  treasure.  There  we  wait,   my  father,   f-dr'-thee! 

Behold   thy   father   despairing!  RIGOLETTO: 

Who  was't  that  struck  thee?  Ah,   no,   no,   leave   me   not! 

GILDA:  Live,  my  child. 

Oh,   my  father,   for  him  that   I   cherish,  Canst  thou  leave  me  alone,  despairing? 

I   deceived  thee,   and  for  him   I   perish.  GILDA: 

RIGOLETTO:  Ah,  no — forgive  my  betrayer,  my  father. 

Heaven's  avenging   wrath   has   undone   me,  From    yonder   sky— there    we    wait — my   father, 

Turn  thine  eyes,  oh  my  angel,  upon  me,  for —        (She  dies.) 

Speak,   oh   speak  to  me,   who  hath  bereft   me?  RIGOLETTO: 

GILDA:  Gilda!    my   Gilda!      I've   lost   her! 

Father,   oh   ask  net,  (He  recalls  the  curse.) 

Bless   thy   daughter  and   forgive   her.  Ah!    'twas  a   father   cursed   me! 

(Tears  his  hair  and  falls  senseless  on  the  body.) 
(Curtain) 

^Doable-Faced  Record—  For  title  of  opposite  side  ,-e  DOUBLE-FACED  RIGOLETTO   RECORDS,  page  378. 


VICTOR  BOOK  OF  THE  O  P  E  R  A  —  V  E  RD  I '  S  RIGOLETTO 


Gems  from  Rigpletto 

Chorus,  "Pleasure  Calls  Us" — -Solo  and  Chorus,  "Carved  Upon  My  Heart" 
(Caro  Nome) — Duet,    "  Love  is  the  Sun" — Solo,   "  Woman  is  Fickle" — Quartet, 
"  Fairest  Daughter" — Finale 
By  the  Victor  Opera  Company  (In  English)     31386     12-inch.  $1.OO 

Rigoletto — Paraphrase  de  Concert    (Verdi-Liszt) 

By  Vladimir  de  Pachmann,  Pianist  74261      12-inch,     $1.50 


DOUBLE-FACED  RIGOLETTO  RECORDS 

Ch  'io  le  parli  (I  Will  Speak  to  Him) 


By  Cigada,  Sillich  and  La  Scala  Chorus    (In  Italian 
Tempesta — Somiglia  un  Apollo   (He's  Fair  as  Apollo) 

By  Brambilla,  Cappiello,  Sillich  and  Chorus 
(Caro  nome  (Dearest  Name)  By  Edith  Helena  (In  English) 
\  Sonnambula — Ah,  non  giunge  By  Edith  Helena  (English) 

Quartet — Bella  figlia  dell'  amore     (Fairest  Daughter  of  the 
Graces)    By  Giuseppina  Huguet,  Emma  Zaccaria,  Carmelo 

(In  Italian) 


Lanzirotti  and  Francesco  Cigada 
Lassu   in    cielo     (In   Heaven   Above)  By  Giuseppina 

Huguet,  Soprano,  and  Renzo  Minolfi,  Baritone         (In  Italian) 
I  Quartet  By  Kryl's  Bohemian  Band 

\       Trovatore  Selection   (Home  to  Our  Mountains)  Vessella  's  Bandj 

/Monologo — Pari  siamo  By  Ernesto  Badini     (In  Italian)} 

\Piangi  fanciulla  By  Cassani  and  Federici     (In  Italian)} 

Tutte  le  feste  al  tempio   (On  Every  Festal  Morning) 

By  Laura  Mellerio  and  Ernesto  Badini     (In  Italian) 
Si  vendetta  (Yes,  My  Vengeance) 

By  Laura  Mellerio  and  Ernesto  Badini     (In  Italian) 
Cortigiani,  vil  razza  dannata     (Vile  Race  of  Courtiers) 

By  Renzo  Minolfi,  Baritone     (In  Italian)  J-lo573 
Lafame — Fantaisie  aux  divins  By  M.  Rocca,  Tenor     (In  French) 

Tutte  le  feste  al  tempio   (On  Every  Festal  Morning) 

By  Giuseppina  Huguet,  Soprano  (In  Italian) 
[La  donna  e  mobile  By  Giuseppe  Acerbi,  Tenor  (Italian) 
/Rigoletto  Quartet  By  Arthur  Pryor's  Band 

\      Peacemaker  March  By  Arthur  Pryor's  Band 


6819O      12-inch,  $1.25 
35O67      12-inch,      1.25 

68O67      12-inch.      1.25 


j-35239      12-inch.      1.25 
U5032      10-inch,      l.OO 


45000     10-inch,     l.OO 


lO-inch,        .75 


62O83 


lO-inch.        .75 
lO-inch,        .75 


RINALDO 

(Ree-nahl'-Joh) 

OPERA  IN  THREE  ACTS 

Text  by  Adam  Hill ;  Italian  text  by  Rossi,  founded  on  the  episode  of  Rinaldo  and  Armida 
in  Tasso's  Gerusalemme  liberata.  Music  by  George  Frederick  Handel. 

Rinaldo  -was  produced  at  a  time  when  Italian  music  had  become 
the  fashion  in  London,  and  the  composer  followed  the  plan  then  in 
vogue,  to  write  the  dialogue  in  recitative  form.  This  opera  was  writ- 
ten by  Handel  in  the  amazingly  brief  time  of  fourteen  days,  and  first 
performed  at  Queen's  Theatre,  February  24,  171 1.  The  work  was  put 
on  to  signalize  the  coming  of  Handel  to  London,  and  was  a  magnificent 
production  for  that  period.  Only  the  year  before  the  composer  had 
been  induced  to  leave  the  Court  of  Hanover  for  that  of  England ;  and 
upon  his  arrival  in  London  Mr.  Aaron  Hill,  the  enterprising  manager  of 
the  new  Haymarket  Theatre,  engaged  him  to  supply  an  Italian  opera. 
Hill  planned  Rinaldo,  Rossi  wrote  the  Italian  libretto,  and  Handel  hur-  HANDEL 

riedly  dashed  off  the  music. 

The  opera  ran  for  fifteen  consecutive  nights — an  unprecedented  feat  for  that  age — and  was 
mounted  with  a  splendor  then  quite  unusual.  Among  other  innovations,  the  gardens  of 
Armida  were  filled  with  living  birds,  a  piece  of  realism  hardly  outdone  even  in  these  days. 


Characters  in  the  Opera 

RINALDO,  a  knight Soprano 

ARMIDA,  an  enchantress Soprano 

ALMIRENA,  Godfrey's  daughter Soprano 

ARGANTE,  a  Pagan  king Bass 

GODFREY,  a  noble Bass 

EUSTAZIO...  ..Alto 


The  action  tak.es  place  in  Palestine  at  the  time  of  the  Crusade. 


Rinaldo  is  a  Knight  Templar  who  loves  Almirena,  daughter  of  Godfrey.  The  enchantress, 
Armida,  also  loves  Rinaldo,  and  in  a  jealous  rage  seizes  Almrena  and  conceals  her  in  a 
magic  garden.  Armida  's  lover,  a  Pagan  King  named  Argante,  complicates  matters  by  himself 
falling  in  love  with  Almirena.  Rinaldo  finally  rescues  Almirena,  and  the  sorceress  and  her 
lover  are  captured  and  converted  to  Christianity. 

Among  the  many  arias  of  great  beauty  with  which  the  score  abounds  is  the  Lascia  ch  'io 
pianga,  in  which  Almirena  laments  her  capture  by  the  sorceress.  This  striking  number  is 
delivered  by  Schumann-Heink  with  great  beauty  of  tone  coloring  and  impressive  power  in 
the  most  dramatic  passages.  The  melody  is  a  beautiful  one. 

Lascia  ch'io  pianga  ('Mid  Lures  !  'Mid  Pleasures  !) 

By  Ernestine  Schumann-Heink,  Contralto      (In  Italian)      88189       12-inch,  $3.OO 

ALMIRENA:     Armida,  thou  enchantress,  But  grief  with  bitter  tears! 

With   thy  craft,    dark  and   fiendish,  'Mid  lures,   'mid  pleasures. 

Hast  stolen   from  my  sad  heart  Hopeless  I  languish 

The  bliss  of  Heaven;  Vainly  deploring  my  freedom  lost! 

And  here  a  doom  eternal  Heaven,   who  canst  measure 

Suffer  I  ever  My  pain  and  anguish, 

The  prey  of  pow'rs  infernal!  Thee  I'm  imploring 

Alas!  naught's  left  to  me  By  ill  fate  toss't! 

379 


(French) 


ROBERT  LE  DIABLE 


(English) 

ROBERT  THE  DEVIL 


(Roh-ber  leh  Dee-ah'M) 

OPERA  IN  FIVE  ACTS 

Words  by  Scribe  and  Delavigne ;  music  by  Giacomo  Meyerbeer.  First  presented  at  the 
Academic,  Paris,  1831;  in  London,  in  English,  at  Drury  Lane,  1832;  in  Italian  at  Ker 
Majesty's  Theatre,  May  4,  1847  (first  appearance  of  Jenny  Lind). 

Cast 

ROBERT,  Duke  of  Normandy Tenor 

BERTRAM,  the  Unknown   Bass 

ISABELLA,  Princess  of  Sicily Soprano 

ALICE,  foster  sister  of  Robert Soprano 

Knights,  Courtiers,  Heralds,  Pilgrims,  Peasants,  Chaplains,  Priests,  Nuns,  etc. 

Although  Meyerbeer  had 
produced  several  operas,  most- 
ly unsuccessful,  it  was  not 
until  the  production  of  Robert 
le  Diable  in  1831  that  the 
genius  of  the  composerbecame 
known.  The  opera  met  with 
an  unparalleled  success  and 
really  made  the  fortune  of  the 
Paris  Opera  with  its  splendid 
scenic  effects,  brilliant  instru- 
mentation, vigorous  recitative 
and  its  heroic  and  partly 
legendary  story. 

Robert,  Dul^e  of  Normandy, 
who  was  called  Robert  the  Devil 
because  of  his  courage  in 
battle  and  his  successes  in 
love,  is  banished  by  his  sub- 
jects and  goes  to  Sicily,  where 
he  continues  to  struggle  with 
an  Evil  Spirit,  which  seems 
to  tempt  him  to  every  kind  of 
excess.  Alice,  his  foster  sister,  suspects  that  his  supposed  friend  Bertram,  is  in  reality  this 
evil  influence.  At  the  close  of  Act  I  Robert,  led  on  by  Bertram,  gambles  away  al!  his 
possessions,  and  failing  to  attend  the  Tournament,  loses  the  honor  of  a  knight  and  greatly 
displeases  the  Lady  Jsabella,  whom  he  loves. 

The  second  act  shows  the  entrance  to  the  Cavern  of  Satan,  wherein  a  company  of  Evil 
Spirits  are  collected,  and  where  occurs  the  great  scene  for  Bertram  and  the  chorus  of  fiends. 

Valse  Infernal,  "Ecco  una  nuova  preda  "     \l  Have  'Well  Spread 
My  Toils) 

By  Marcel  Journet  and  Chorus  (In  French)      74282      12-inch,  $1.5O 

Bertram  promises  the  Demons  that  he  will  complete  the  ruin  of  Robert  and  the  fiends 
rejoice  at  the  prospect  of  adding  aitother  soul  to  their  company. 

BERTRAM:  Of    their    infernal    joy      *      *      *       the    fallen 
I    have    well    spread   my   toils,    another    soul    to  spirits   seek 

capture!  To   drown   their   remorse   in   hellish   mirth! 
One  more  gained!   glorious  conquest,                        INFERNAL  CHORUS   (from   the  cavern): 

At  which   demons  must  rejoice!  Ye   demons,    who   Heaven   and  its  laws  defy, 

(A     subterraneous     noise     is     heard;     darkness  The   sound  of  your   revels   now   mounts  to   the 
falls.       Bertram,    under    the    control    of    the  sky, 

ei'il  one,  feels  an  unholy  joy.)  Your  voices  lift   high! 

King  of  fallen  angels!   ruler  mine!     *     *  Praise   the   master   who   reigns   over   us, 

He  is  here!     *     *     *     He  awaits  me!     *     *     *  Sing  aloud  in  lusty  chorus! 

I    hear    the    noise  Praise   the   Master,   yes  praise! 


VICTOR     BOOK     OF    THE      OPERA-ROBERT     THE     DEVIL 


Du  rendezvous  (This  is  Our  Meeting  Place) 

By  Edmond  Clement  and  Marcel  Journet       (In  French)      76O20     12-inch,  $2.OO 

Le  bonheur  est  laus  1'inconstance  (  W^hat  is  Life  \Vlthout  Change  ?) 

By  Edmond  Clement  and  Marcel  Journet        (In  French)      76O21      12-inch,  $2.OO 

The  next  scene  shows  the  ruins,  where  Bertram  invokes  the  aid  of  the  buried  nuns  in 
completing  the  downfall  of  Robert.      This  famous  invocation  is  sung  here  by  Plan^on. 

Invocation  —  Nonnes,  qui  reposez  (Ye  Slumbering  Nuns) 

By  Pol  Plancon,  Baritone  (In  French)     85125      12-inch,  $3.OO 

Bertram  speaks  of  the  founding  of  the  convent  and  of  the   false  nuns  who   lie  buried 

here,  and  calls  upon  them  to  arise. 

BERTRAM  : 

Here  are  the  nuns  of  the  ancient  monastery, 
To       Heaven's       cause       bequeathed      by       St. 


Whose    unholy    devotion    was    offered    to    other 


Rosalie, 
Here  lie   buried  the   false   daughters 


Nuns,  who  beneath  this  cold  stone  repose, 
For  an  hour  forsake  your  sepulcher  beds, 
King  of  Hell,  it  is  I  who  calls  you. 

The  spectres  arise,  and 
•when  Robert  appears  they 
dance  around  him  and  lead 
him  to  the  grave  of  St. 
Rosalie,  -where  he  is  shown 
the  magic  branch.  Overcom- 
ing his  fears,  he  grasps  it,  and 
by  its  power  defeats  the  mul- 
titude of  demons  who  arise 
from  the  infernal  regions  to 
prevent  his  escape. 

In  the  next  scene  Robert 
uses  the  branch  to  become 
invisible,  and  goes  to  Lady 
Isabella's  room  to  carry  her 
off.  In  this  scene  occurs  the 
famous  air  for  Isabella,  "Oh, 
Robert,  My  Beloved." 

Robert,  O  tu  che  adoro  (Oh,  Robert,  My  Beloved  !) 

By  Margarete  Matzenauer,  Mezzo-Soprano       (Italian)      88365      12-inch,  $3.OO 
She  appeals  to  his  better  nature  in  this  lovely  cavatina  : 

ISABELLA:  Xow  at  thy  feet  I  kneel! 

Oh,  Robert,  oh.  my  beloved!  Mercy  on  thyself, 

I  live  alone,  yes,  alone  for  thee  Oh,  have  mercy  and  pity  on  me! 

My  anguish  thou  see'st,  Robert,  who  alone  I  cherish, 

On  thyself  have  mercy,  and  pity  on  me  I  Thou  for  whom  I'd  gladly  perish, 

Ah,  the  ties  that  once  bound  thee  My  anguish  thou  see  st, 

Now  no  more  canst  thou  feel?  On  thyself  have  mercy,  and  pity  on  me! 

Once  I  receiv'd  thy  homage, 

The  air,  which  is  written  for  a  soprano,  is  well  adapted  to  show  the  great  range  of 
Mme.  Matzenauer's  voice,  her  high  notes  being  beautifully  taken. 

Selection,  including  "  Oh,  Robert,  My  Beloved" 

By  Arthur  Pryor's  Band     (Doubk-faccJ)  35O64     12-inch,  $1.25 

Moved  by  her  entreaties,  he  yields  to  the  promptings  of  his  good  angel  and  breaks  the 
branch,  thus  destroying  the  spell. 

In  the  last  act  Bertram  renews  his  efforts  to  induce  Robert  to  sign  an  eternal  contract. 
Tired  of  life,  he  is  about  to  yield  when  Alice  appears  and  tells  him  of  the  last  -words  of  his 
mother,  warning  him  against  the  Fiend,  who  is  in  reality  Robert's  father.  The  clock  strikes 
twelve,  and  the  baffled  Fiend  disappears,  while  the  cathedral  door  opens  showing  the 
Princess  waiting  for  the  reformed  Robert. 


SCENE    FROM    ROBIN     HOOD ACT    II 


ROBIN  HOOD 

COMIC  OPERA  IN  THREE  ACTS 

Harry  B.  Smith;  music  by  Reginald  de  Koven.  First  performance  in 
Chicago,  June  9,  1890,  by  the  Bostonians,  who  sang  the  opera  more  than  four  thousand  times. 
Recently  revived  at  the  New  Amsterdam,  New  York,  by  the  de  Koven  Opera  Company. 


Libretto    by 
une  9, 


Characters 

ROBERT  OF  HUNTINGTON,  known  as  Robin  Hood 
SHERIFF  OF  NOTTINGHAM 

SIR  GUY  OF  GISBORNE,  his  ward 

LITTLE  JOHN 

WILL  SCARLET      Outlaws 

ALLAN-A-DALE      Outlaws 

FRIAR  TUCK 

LADY  MARIAN 

DAME  DURDEN,  a  widow 

ANNABEL,  her  daughter 


.  .Tenor 


afterwards  Maid  Marian  . 


Tenor 

fBaritone 
I  Bass 

•  •  •  •  1  Contralto 
[Bass 

Soprano 

Contralto 

Soprano 


Villagers,  Milkmaids,  Outlaws,  King's  Foresters,  Archers  and  Peddlers. 


At  th 


Time  and  Place  : 
of  the  op 


Nottingham,  England,  in  the  twelfth  century. 
:ra  a    merrymaking    is  in   progress   at   the   marketplace 


ic  three  outlaws,  Little  John,  Will  Scarlet  and  Friar  Tuck,  enter  and  sing  of 
their  free  life  in  the  Forest  of  Sherwood,  and  finally  the  handsome,  dashing  Robin 
appears,  declaring  that  he  is  the  Earl  of  Huntington,  and  demanding  that  the  Sheriff  shall  so 
proclaim  him.  The  Sheriff,  however,  protests  that  the  youth  has  been  disinherited  by  his 
own  father,  who  before  the  birth  of  Robin  Hood  was  secretly  married  to  a  peasant  girl,  who 
died  when  her  child  was  an  infant.  The  child  is  Sir  Guy  of  Gisborne,  the  rightful  heir  to  the 
earldom  and  the  Sheriff's  ward,  whom  he  is  planning  to  marry  to  Lady  Marian,  ward  of  the 
Crown.  However,  the  young  girl  and  Robin  Hood  are  already  deeply  in  love  and  ex- 
change vows  of  eternal  faith,  much  to  the  indignation  of  Sir  Guy.  Lady  Marian  protests 


VICTOR   BOOK   OF   THE   OPERA— ROBIN   HOOD 


against  her  marriage  to  Sir  Guy,  hoping  that  on  the  return  of  the  King 
from  the  Crusades  she  will  be  released,  while  Robin  Hood  plans  with 
the  help  of  the  King  to  prove  his  right  to  the  earldom.  The  out- 
laws sympathize  with  the  pair  and  invite  Robin  Hood  to  join  them, 
promising  him  he  shall  be  their  king  and  rule  them  under  the 
Greenwood  Tree,  to  which  proposal  Robin  Hood  at  length  agrees. 
In  the  last  act  the  dashing  king  of  the  outlaws  brings  the  message 
which  saves  Maid  Marian  from  the  hated  marriage  with  Sir  Quy,  and 
the  opera  ends  amid  general  rejoicings  at  the  triumph  of  Robin  Hood 
and  the  gentle  Marian  over  the  plotting  Sheriff  and  his  ward. 

Gems  from  Robin  Hood— Part  I 

"Hey,  for  the  Merry  Greenwood" — "  Brown  October 
Ale" — "Come  Dream  So  Bright" — "Tinkers'  Chorus"— 
"  Oh,  Promise  Me  " — "  Come  Along  to  the  Woods  " 

Victor  Light  Opera  Company     31768     12-inch.  $1.OO 

Gems  from  Robin  Hood — Part  II 

"Ho,  Ho,  Then  for  Jollity" — "Ye  Birds  in  Azure 
Winging" — "Armorer's  Song" — "A  Hunting  We'll  Go" 
—  "Ah!  I  Do  Love  You "  —  "  Sweetheart,  My  Own 
Sweetheart"— "Love,  Now  We  Never  More  Will  Part " 

Victor  Light  Opera  Company   31868     12-inch,     l.OO 
Oh,  Promise  Me 


By  Harry  Macdonough,  Tenor 
Sing  Me  to  Sleep     (Greene) 

By  Corinne  Morgan,  Soprano 
Oh,  Promise  Me 

By  Alan  Turner,  Baritone 
Dearie     (Kummer) 

By  Elsie  Baker,  Soprano 
Favorite  Airs  from  the  Opera 
Prince  of  Pilsen  Selection     (Luders) 


/Armorer's   Song 

\      Till  the  Sands  oj 

Armorer's  Song 


16196      lO-inch, 


17189      lO-inch, 


By  Pryor's  Bandj  lo_inch>  $o.75 

oy  jousa  s  Hand) 


Till  the  Sands  of  the  Desert  Gron  Cold          By  Wilfred  Glenn,  Bassf1  7268 


By  Wilfred  Glenn.  Ba 
By  Wilfred  Glenn,  B, 
By  Eugene  Cowles,  Bass 


lO-inch, 
lO-inch. 


LE  ROI  DE'LAHORE 

(Rooah'-Jeh'  Lah-oh/) 
(English) 

THE  KING  OF  LAHORE 

OPERA  IN  FIVE  ACTS 

Libretto  by   Louis  Gallet ;    music  by  Jules    Massenet.      First   production    at   the    Grand 
Opera,  Paris,  April  27,  1877;  and  at  Covent  Garden,  Royal  Italian  Opera,  June  28,  1879. 


Cast 

ALJM,  King  of  Lahore Tenor 

SCINDIA,  his  minister Baritone 

TlMUR,  a  priest Bass 

INDRA Bass 

SlTA Soprano 

KALED,  confidant  of  the  King Mezzo-Soprano 


Time  and  Place  :     India  ;   the  eleventh  century,  during  the  incursion  of  the  Mohammedans. 


This  early  •work  of  Massenet's  is  founded  upon  an  Indian  subject,  and  deals  with  the 
Mussulman  invasion.  It  is  noted  for  its  brilliant  ballet,  illustrative  of  an  Indian  paradise. 

Sita,  niece  of  the  high  priest,  Timur,  is  beloved  by  Alim,  King  of  Lahore.  His  rival, 
Scindia,  accuses  her  of  profaning  the  Temple  and  she  is  condemned  to  death,  but  is  saved 
by  the  King,  who  asks  her  hand  in  marriage. 

In  the  second  act  Alim,  at  war  with  the  Mussulmans,  is  betrayed  to  the  enemy  by 
Scindia,  and  is  killed  in  battle,  while  Scindia  seizes  his  throne  and  carries  away  Sita. 

Alim  is  transported  to  the  celestial  realm  of  India,  but  is  not  contented,  and  begs  the 
divinities  to  allow  him  to  return  to  earth.  His  request  is  granted  on  condition  that  he  does 
not  resume  his  rank  and  returns  to  India  when  Sita  dies.  On  his  return  he  finds  that 
Scindia  has  secured  the  throne  and  forced  Sita  to  become  his  wife.  Alim  declares  himself, 
but  Scindia  denounces  him  as  an  impostor.  Alim  is  obliged  to  flee,  but  Sita  goes  with  him, 
and  when  they  are  about  to  be  captured  she  kills  herself.  Alim,  in  fulfillment  of  his  vow, 
also  dies,  and  the  lovers  are  united  in  celestial  India. 

Promesse  di  mon  avenir  (Oh,  Promise  of  a  Joy  Divine) 

By  Emilio  de  Gogorza,  Baritone  (In  French)     88172     12- inch,  $3.OO 

The  most  famous  of  the  numbers  is  of  course  this  superb  air  for  baritone  in  the  fourth 
act,  which  La  Salle  sung  in  the  first  production  with  great  success.  A  portion  of  the  fine 
translation  by  Dudley  Buck,  from  the  Schirmer  "Operatic  Anthology"  (Copy'tG.  Schirmer), 
is  given  here  by  permission. 

SCINDIA: 

The     Sultan's    barb'rous     horde,     who    had     so 

gladly   riven 
From  us   fair   Lahore, 
By    our    own    might    have    from    the    field    been 

driven. 

From  care  my  people  free, 
Loudly   sound   forth   my  praises! 


O  promise   fair  of  joy  divine,   Sita, 

Thou  dream  of  all  my  life,  Sita,   my   queen  thou   soon   shalt  be! 

O  beauty  torn   from   me  by  strife.  To  thee  the   world  its  glory  offers, 

At  last,   thou  shalt  be   mine!      O   Sita!  To  thee  a  king  his  crown  now  proffers; 

O  fair  one,  charm   my  loving  heart,  Come,   Sita,    O   come!    ah!    l>e    mine! 

And   ne'er   again    from   me   depart! 

A  fine  rendition  of  this  air  is  given  here  by  Mr.  de  Gogorza,  whose  beautiful  voice  and 
perfect  French  diction  are  well  exhibited. 


(French)  (English) 

ROMEO  ET  JULIETTE    ROMEO  AND  JULIET 

(Roh'-mau-oh  auJoo-lee-ef) 

OPERA  IN  FIVE  ACTS 

Words  by  Barbier  and  Carre,  after  Shakespeare's  drama.  Music  by  Charles  Gounod. 
First  produced  at  the  Theatre  Lyrique,  Paris,  April  27,  1867.  First  London  production  July 
1  I,  1867.  Presented  in  America,  1868,  with  Minnie  Hauk. 

Some  famous  American  productions  occurred  in  1890,  with  Patti,  Ravelli,  del  Puente  and 
Fabri;  in  1891,  with  Eames  (debut),  the  de  Reszkes  and  Capoul;  in  1898,  with  Melba, 
Saleza,  de  Reszke  and  Plancon ;  and  more  recently  with  Farrar  as  Juliet. 


Characters 

JULIET,  (/oo-AW)  daughter  of  Capulet 

STEPHANO,  (Stef  '-ah-noh)  page  to  Romeo 

GERTRUDE,  Juliet's  nurse 

ROMEO 

TYBALT,  (Tee-bahf)  Capu let's  nephew 

BENVOLJO,  (Ben-vo -lee-oh)  friend  of  Romeo 

MERCUTIO,  (A/er-W '-shee-oh)  friend  of  Romeo 

PARIS,    (Pah-tee)  Capulet's  kinsman    

GREGORIO,  Capulet's  kinsman    

CAPULET,  (Cap-u-leh')  a  Veronese  noble 

FRIAR  LAURENCE ....../, 

THE  DUKE  OF  VERONA  . . 


Soprano 

Soprano 

.  Mezzo-Soprano 

Tenor 

Tenor 

Tenor 

Baritone 

Baritone 

Baritone 

.  .  Basso-Cantante 

Bass 

...Bass 


Guests ;  Relatives  and  Retainers  of  the  Capulets  and 
Montagues. 


The  action  lathes  place  at  Verona. 


Romeo  and  Juliet  over- 
flows with  charming  music, 
Gounod  having  written  for  the 
lovers  some  of  the  most  emo- 
tional passages  ever  composed, 
and  the  opera  has  even  been 
called  "  a  love  duet  with  occa- 
sional interruptions."  It  is  of 
course  not  another  Faust, — no 
composer  could  write  two  such 
•works, — but  it  is  a  most  beau- 
tiful setting  of  the  story  of 
the  ill-fated  Italian  lovers, 
and  will  always  be  listened 
to  with  pleasure. 

Several  of  the  Shake- 
spearean personages  have 
been  omitted  from  the  opera 
cast  by  the  librettists,  and  a 
new  character,  that  of  the 
page  Stephana,  has  been  added. 


FARRAR      AS      JULIET 


IJIIIIIJIIJ 


VICTOR    BOOK    OF    THE     OPERA— GOUNOD'S    ROMEO    AND    JULIET 


ACT  I 

SCENE— Ballroom  in  Capulet's  House,  Verona 

The  curtain  rises  on  a  scene  of  festivity.  Capulel,  a 
Veronese  noble,  is  giving  a  masked  fete  in  honor  of  his 
daughter  Juliet 's  entrance  into  society. 

Juliet  is  presented  to  the  guests  by  her  father,  and 
Capulet,  in  a  rousing  air,  calls  on  his  guests  to  make  merry. 

When  the  guests  have  gone  to  the  banquet  hall, 
Juliet  lingers  behind  and  gives  expression  to  her  girlish  joy 
in  the  famous  waltz. 

Valse  (Juliet's  Waltz  Song) 

By  Louise  Tetrazzini,  Soprano 

(In  Italian)  883O2  12-inch,  $3.OO 
By  Emma  Eames,  Soprano 

(In  French)  88O11  12-inch,  3.OO 
By  Blanche  Arral,  Soprano 

(In  French)      74151      12-inch,      1.5O 

It  is  maintained  by  some  critics  that  this  waltz  is  too 
showy  and  brilliantly  effective  to  be  sung  by  a  modest 
young  girl  at  her  first  ball.  However,  Gounod  has  written 
such  an  uncommonly  pretty  waltz  of  exquisite  melody, 
that  most  hearers  are  too  delighted  to  inquire  very  closely 
into  questions  of  dramatic  fitness. 


JULIET: 

Song,   jest,   perfume   and   dances. 
Smiles,   vows,   love-laden   glances 
All  that  spells  or  entrances 
In   one   charm   blend 
As   in   fair   dreams   enfolden 
Born  of  fantasy  golden, 


Sprites   from  fairyland  olden, 
On   me  now  bend. 
Forever   would  this  gladness 
Shine  on  me  brightly  as  now, 
Would   that  never  age  or  sadness 
Threw  their  shade   o'er  my  brow ! 


Three  records  of  this  delicate  waltz,  with  its  ear-haunting  melody,  are  offered  for  a 
selection.  Mme.  Tetrazzini  gives  it  with  much  animation,  its  difficult  requirements  being 
met  with  a  perfect  ease  and  grace. 

Mme.  Eames,  whose  Juliet  is  remembered  with  pleasure,  sings  the  number  with  much 
charm ;  while  another  fine  rendition  is  contributed  by  Mme.  Arral. 

Juliet  is  about  to  leave  the  room  when  Romeo  enters,  having  ventured  masked  into 
the  house  of  his  enemy.  He  is  much  impressed  with  her  beauty  and  grace,  and  contriving 
to  speak  with  her,  asks  her  to  remain  a  moment.  They  sing  the  first  of  their  duets,  the 
opening  portion  of  which  is  full  of  airy  repartee.  As  the  number  progresses  a  mysterious 
attraction  seems  to  draw  the  youth  and  maiden  toward  each  other,  and  the  duet  becomes 
an  impassioned  love  scene. 

Ange  adorable    (Lovely  Angel) 

By  Geraldine  Farrar,  Soprano,  and  Edmond  Clement,  Tenor 

(In  French)  88421      12-inch,  $3.OO 

By  Alice  Nielsen  and  Florencio  Constantino    (In  French)      741O8     12-inch,     1.50 


ROMEO: 

Angel   that   wearest  graces  the   fairest, 

Forgive,   if  to  touch  I  dare. 

The  marble   whiteness  of  thy   hand 

That  Heav'n  hath  formed  so  fair! 

Claim,    then,    unsparing,    that    for   my    daring 

I   one   soft   kiss  be  fined. 
*  Kiss,  that  effaces  -unworthy  traces. 

This  hand   hath   left   behind. 

Thy      hand,      good      pilgrim,      this      fine      but 

wrongeth 

For   thou    dost    blame    it    o'ermuch. 
To   pure   devotion    surely   belongeth. 
Saintly  palm   that  thou   may'st  touch. 
Hands   there   are,    sacred   to   pilgrim's   greeting, 


But,  ah   me!   I   not  such  as  this, 

Palm   unto  palm,   not    red  lips  meeting, 

Is  a  holy   palmer's  kiss! 


RO 

To  palmer  and  to  saint,   have  not  lips  too 

been    given  ? 
JULIET: 

Yes;   but   only   for   prayer! 


Then  grant  my  pray'r, 
driv 


dear  saint,  or  faith 
lay    rise    be    driven. 
Unto  deepest  despair! 
JDLIIT: 

Know,   the  saints  ne'er  are  moved. 
And    if   they    grant    a    pray'r,    'tis    for    the 
prayer's  sake! 


387 


VICTOR    BOOK    OF    THE    OPERA— GOUNOD'S     ROMEO    AND    JULIET 


ROMEO: 

Then   move   not,   sweetest   saint. 

Whilst   the   effect   of   my   pray'r,    from   thy   lips 
(He  kisses  her) 

I  shall  take! 
JULIET: 

Ah!  now  my  lips  from  thine  burning, 

Have   the  sin   that  they  have  taken ! 
ROMEO: 

O   give   that  sin   back  again. 

To   my   lips  their   fault   returning. 
JULIET: 

No,  not  again!     No,  not  again! 
ROMEO: 

O  give  the  sin  to  me  again ! 

Tybalt,  a  hot-headed  member  of  the  Capulet  family,  recog- 
nizes Romeo  through  his  mask,  and  threatens  to  kill  him  for 
his  presumption  in  coming  to  the  house  of  his  enemies. 
Capulet  restrains  Tybalt  and  the  dancing  recommences. 


ACT  II 

SCENE — Capulet' s  Garden;  Juliet's  Apartments  Above 

This  scene   is   taken  almost  literally   from    Shakespeare,  the   only  variation   being   the 
entrance  of  Gregorio  and  the  servants,  which  serves  merely  to  divide  the  long  love  duet. 

Romeo,  who  is  braving  the  displeasure  of 
his  enemies  in  the  hope  of  seeing  Juliet  again, 
appears,  and  gazing  at  the  balcony,  sings  his 
lovely  serenade. 

Ah  !  leve  toi  soleil    (Arise, 
Fairest  Sun) 

By  Herman  Jadlowker,  Tenor 

(In  French)    76025      12-inch,  $2.OO 
By  Lambert  Murphy,  Tenor 

(In  French)    701O2      12-inch,      1.25 

ROMEO: 

Rise,   fairest  sun   in  heaven ! 

?uench   the   stars  with  thy   brightness, 
hat  o'er  the  vault  at  even 
Shine   with   a   feeble   lightness. 
Oh!    rise   again!    Oh!    rise  again! 
And  banish  night's  dark  shades. 
She  is  watching,  ah!   ever  untwining 
From  their  bonds   her  tresses  shining! 
Now   she  speaketh.     Ah!   how  charming! 
By  her  beauty's  brilliant  ray, 
As  burneth,   ashamed  and  jaded, 
A  lamp  by  the  light  of  day! 
At  her   window,   on   her  fair   hand, 
See  now  she  leaneth  her  cheek. 
On  that  hand,  were  I  a  glove, 
That  I   might  touch  that  cheek! 

Juliet  appears  on  the  bal- 
cony and  Romeo  conceals  him- 
self. She  speaks  to  the  stars 
of  her  new-found  happiness. 

JULIET: 

Ah,  me — and  still  I  love  him ! 
Romeo,  why  art  thou  Romeo? 
Doff  then  thy  name,  for  it  is 

no  part, 
My  love,   of  thee!     Wrhat  rose 

we  call 
P>y  other  name  would  smell  as     E5 

sweetly: 
Thou'rt  no  foe,   'tis  thy  name! 


VICTOR    BOOK    OF    THE     OPERA— GOUNOD'S     ROMEO    AND    JULIET 


A  long  scene  between  the  lovers  is  interrupted 
by  Gregorio  and  some  retainers,  who  are  searching 
for  Romeo.  He  conceals  himself,  and  on  their  de- 
parture the  duet  is  resumed. 

Ne  fuis  encore  (Linger  Yet  a  Moment) 

By  Alice  Nielsen,  Soprano,  and  Florencio 
Constantino,  Tenor 

(In  French)      64O91      lO-inch,  $1.OO 

ROMEO  AND  JULIET: 

Ah!  go  not  yet,  but  stay  thee! 

Let  me   once   more   kiss  thy   dear   hand,    I   pray 

thee! 
JULIET: 

Silence!    a   step   is   near   us. 

Someone  I   fear  will   hear  us, 

Let  me  at  least   take   my   hand  from   thy  keep- 
Good   night,   love. 
Ro  M  EO  : 

Good  night,   love. 
T.OTH: 

Good    night!       Dearest,    this    fond    good    night 
is    such    sweet    sorrow 

That  I   would  say  good   night,   till   it  be   dawn! 
ROMEO: 

Soft  be   thy   repose   till   morning! 

On   thine  eyes  slumber  dwell,   and  sweet  peace 

In   thy   bosom:    would   I    were   sleep   and    peace 
So  sweet  to  rest ! 

ACT  III 

SCENE  I—  The  Cell  of  Friar  Laurence 

Romeo  and  Juliet  meet  by  appointment  in  the  Friar's  cell  to  ask  him  to  marry  them.  He 
at  first  protests  but  finally  consents,  hoping  the  union  will  bring  the  rival  houses  to- 
gether in  friendship.  The  marriage  takes  place,  and  Juliet  returns  home  -with  her  nurse. 

SCENE  II— ,4  Street  in  Verona 

Stephana  enters,  seeking  his  master.  Observing  the  residence  of  Capulel,  he  decides  to 
sing  a  song,  thinking  Romeo  may  still  be  lingering  near  the  house.  A  fine  rendition  of  this 
air  has  been  given  by  Rita  Fornia. 

Chanson  de  Stephano  (Page  Song) 

By  Rita  Fornia,  Soprano 


NTING    BY    PAPPER 
ROMEO    AND    JULIET 


(In  French) 


74211  12-inch,  $1.50 
This  brilliant  young  so- 
prano, who  has  just  been  en- 
gaged by  the  Victor,  has  made 
an  especial  success  at  the 
Metropolitan  in  this  role,  her 
fresh  and  youthful  voice  being 
admirably  suited  to  the  music 
of  the  Page,  while  in  the 
recent  revival  of  Romeo  her 
singing  of  Stephana's  air  was 
pronounced  one  of  the  best 
features  of  the  performance. 
Gregorio  appears,  angry  at 
being  waked  up,  and  scolds 
the  noisy  youth,  finally  rec- 
ognizing him  as  the  compan- 
ion of  Romeo  on  the  previous 
night.  They  fight,  but  are 
interrupted  by  Mercutio  and 
Tybalt,  -who  begin  to  quarrel 
•with  Gregorio.  Romeo  enters 
and  tries  to  act  as  peacemaker, 
but  is  insulted  and  forced  to  fight,  killing  Tybalt.  The  action  comes  to  the  ears  of  the 

389 


VICTOR    BOOK    OF    THE    OPERA— GOUNOD'S     ROMEO    AND    JULIET 


Duf^e  of  Verona,  who  happens   to   be   passing  with   his   suite,  and   he  banishes  Romeo   from 
the  kingdom.     The  unhappy  youth  yields  to  the  decree,  but  secretly  vows  to  see  Juliet  again. 

ACT  IV 

SCENE— Juliet's  Room 

Romeo  has  made  his  way  into  Capulet's  house  at  imminent  risk  of  death,  and  has 
penetrated  to  the  room  of  his  bride.  As  the  curtain  rises  he  is  taking  leave  of  her,  and  in 
another  exquisite  duet  she  begs  him  not  to  go.  He  finally  departs  after  a  tender  farewell, 
just  as  Capulet  and  Friar  Laurence  enter  to  tell  her  that  it  was  Tybalt's 
dying  wish  that  she  should  marry  Paris.  Left  alone  with  the  good 
priest  she  tells  him  she  will  die  rather  than  be  separated  from  Romeo. 
The  Friar  tells  her  to  have  patience,  as  he  has  a  plan  by  which  they 
are  to  be  reunited.  He  then  gives  Juliet  a  potion,  commanding  her 
to  drink  it  when  her  marriage  with  Paris  seems  imminent,  and  tells 
her  she  will  go  into  a  death-like  trance.  He  continues: 
FRIAR  LAURENCE: 

Loud  will  they  raise  the  sound  of  lamentation, 
"Juliet  is  dead!     Juliet  is  dead!"     For  so 
Shall   they   deem  thee   reposing.      But 
The  angels  above  will  reply,  "She  but  sleeps!" 
For     two-and-forty     hours     thou     shalt     lie     in 

death's   seeming, 
And   then,   to   life  awaking  as  from   a  pleasant 

dreaming. 

From  the  ancient  vault  thou  shalt  haste  away; 
Thy    husband    shall    be    there,    in    the    night    to 
watch  o'er  thee! 

The  good  priest  leaves  her  and  shortly  afterward,  seeing  her 
father  and  Paris  approaching,  she  drinks  the  contents  of  the  phial,  and 
growing  faint,  apparently  expires  in  Capulet's  arms. 

ACT  V 

SCENE—  The  Tomb  of  Juliet 

The  curtain  rises,  showing  the  silent  vault  of  the  Capulels, 
•where  Juliet  is  lying  on  the  bier  still  in  her  trance.  Romeo,  who  has 
failed  to  receive  Friar  Laurence's  message,  and  believes  Juliet  is  dead, 
now  forces  the  door  with  an  iron  bar  and  enters. 

He  sees  his  bride  apparently  dead,  and  flings  himself  on  her  body. 
CONSTANTINO  AS  ROMEO   After  a  mournful  air  in  which  he  bids  her  farewell,  he  drinks  poison, 
but  is  soon  startled  to  see  signs  of  life  in  the  body  of  Juliet.      For- 
getting the  poison  he  had  taken,  he  embraces  her  joyfully  and  they  sing  their  final  duet : 
JULIET:  ROMEO: 

Ah!  methought  that  I  heard  Come,  let's  fly  hence! 

Tones  that  I  lov'd,  soft  falling!  JULIET: 

Happy  dawn! 


'Tis  I!   Romeo  —  thine  own  — 
Who   thy   slumbers    have   stirr'd, 
Led  by  my  heart  alone, 
Thee,  my  bride,   unto  love 
And  the   fair  world   recalling! 
(Juliet  falls  into  his  arms.) 


ROMEO   AND  JULIET: 
Come,  the  world  is  all  before  us, 

two  hearts,  yet  one! 
Grant  that  our  love  — 

Be   now   and   ever 
Holy  and  pure,  till  our  life  shall  end. 


Suddenly  remembering  the  fatal  draught,  Romeo  cries  out  in  horror  : 


id, 


ROMEO: 

Alas!    I   believed   thee   de; 

I  drank  of  this  draught! 

(S'hozi's  the  phial.) 
JULIET: 

Of  that  draught!     It  is  death! 

(Taking  the  phial.) 

Ah !    thou    churl 

To     drink     all!        No     friendly     drop     thou'st 
left  me. 

So  I  may  die  with  thee! 

(She    flings    the    phial    away,    then    remember- 
ing the  dagger,  draws  it  out.) 

Ah!   here's  my  dagger  still! 


ppy  dagger,  behold  thy   sheath! 
abs    herself.       With    a    suprem 
half   raises   himself   to   prerei 


(She 
Rot 

ROMEO: 

Hold!    Hold  thy  hand! 

JULIET: 

Ah,  happy  moment. 
My   soul   now   with   rapture   is 
Thus  to  die,  love,  with  thee. 
(She  lets  fall  the  dagger.) 
Yet  one   embrace!      I   love   the 
(Thev   half  rise  in  each  other' 
O   heav'n   grant   us  thy  grace! 
(They   die.) 


DOUBLE-FACED   ROMEO   RECORDS 

/Romeo  and  Juliet  Selection  By  Arthur  Pry or's  Bandl,,,-- ,      i  •»,•„,. I,    417* 

t     Samson  ana  Delilah  Selection     (Saint-Sains)     Arthur  Pryor's  Bam//35234      12-inch,  $1.25 


(French) 

SAMSON  ET  DALILA 

(Sam'-sohn'  <t\>  Dah-lee-lah') 

SAMSON  AND  DELILAH 

OPERA  IN  THREE  ACTS 

Text  by  Ferdinand  Lemaire  ;  music  by  Camilla  Saint-Saens  (Sah'-Sahnz').  First  produc- 
tion at  Weimar,  under  Liszt,  December  2,  1877.  In  France  at  Rouen,  1890.  Performed  at 
Covent  Garden,  in  concert  form,  September  25,  1893.  First  American  production  February, 
1895,  with  Tamagno  and  Mantelli  (one  performance  only).  Revived  by  Oscar  Hammerstein, 
November  13,  1908. 


Cast  of  Characters 

DELILAH 

SAMSON 

HIGH  PRIEST  OF  DAGON 

ABIMELECH,  Satrap  of  Gaza 

AN  OLD  HEBREW 

PHILISTINE  MESSENGER 

FIRST  PHILISTINE 

SECOND  PHILISTINE 

Chorus  of  Hebrews  and  Philistines. 


.  Mezzo-Soprano 

Tenor 

Baritone 

First  Bass 

.  .  .Second  Bass 

Tenor 

Tenor 

.  .  .Bass 


Time  and  Place :    I  150  B.  C.  ;   Gaza  in  Palestine. 


Camille  Saint-Saens  has  been  for  two  generations  the  foremost  figure  in  music  in 
France.  Poet,  astronomer,  traveler,  excelling  in  every  branch  of  the  art  of  music,  he  is 
undoubtedly  the  most  versatile  musician  of  our  time.  He 
has  held  a  commanding  position  on  the  concert  stage 
since  1846,  when  at  the  age  of  ten  he  gave  a  concert  in 
Paris.  On  October  15,  1906,  he  played  one  of  his  own 
concertos  at  the  Philharmonic  concert  in  Berlin.  Sixty 
years  before  the  public!  In  all  the  history  of  music 
there  is  no  more  wonderful  career  than  that  of  the  com- 
poser of  Samson,  who  a  few  years  ago  visited  America 
for  the  first  time. 

Samson  et  Dalila  may  be  called  a  biblical  opera, 
almost  an  oratorio,  and  the  polished  beauty  and  grace  of 
this  great  composition  has  caused  it  to  be  pronounced 
Saint-Saens1  masterpiece.  The  religious  and  militant 
flavor  of  the  Jewish  nation  is  finely  expressed  in  the 
score,  and  the  exquisite  love  music  is  more  or  less  familiar 
by  its  frequent  performance  on  the  concert  stage. 

ACT    I 
SCENE— A  Public  Square  in  Gaza 

The  opera  has  no  overture.     The  first  scene  shows  a 

TAMAGNO  AS  SAMSON  square  in  the  city  of  Gaza,  where  a  crowd  of   Hebrews 

are  lamenting  their  misfortunes,  telling  of  the  destruction 
of  their  cities  and   the   profanation  of  their  altars  by  the  Gentiles. 
Samson  speaks  to  the  people  and  bids  them  take  courage. 


VICTOR    BOOK    OF    THE     OPERA— SAMSON    AND     DELILAH 


Figlia    miei    v'arrestate      (Pause,    My 
Brothers) 

By  Charles  Dalmores,  Tenor 

(In  French)     87O87      10-inch,  $2.OO 
By  Nicola  Zerola  64173     10-inch.     l.OO 

SAMSON    {coming  out  from  the   throng) : 
Let  us  pause,   O  my  brothers, 
And   bless    the    holy    name   of    the    God    of    our 

fathers! 
For   now   the   hour   is   here   when   pardon   shall 

be   spoken. 

Yes,  a  voice  in  my   heart  is  the  token. 
"Pis  the  voice  of  the   Lord,   who  by   my  mouth 

thus  speaketh. 

Our   prayers   to    him   have   risen, 
And  liberty   is  ours. 
Brothers!    we'll    break   from   bondage! 
Our  altars  raise   once  more 
To  our  God,  as  before! 

The  Hebrews  are  cheered  by  Samson's  words,  but 
their  mood  soon  changes  when  a  number  of  Philistines 
enter  and  revile  them.  A  fight  occurs,  and  Samson 
wounds  Abimelech.  The  High  Priest  of  Dagon  comes 
out  of  the  Temple  and  curses  Samson. 

From  the  Temple  now  comes  Delilah,  followed  by 
the  Priestesses  of  Dagon,  bearing  flowers  and  singing  of 
Spring.     Delilah  speaks  to  Samson  and  invites  him  to  the 
valley    where    she   dwells.     He    prays    for    strength   to 
resist  her  fascinations,  but  in  spite  of  himself  he  is  forced  to  look  at  her  as  she  dances  with 
the  maidens.      As  the  young  girls  dance  Delilah  sings  to  Samson  the   lovely  Song  of  Spring. 
(French)  (German) 

Printemps  qui  commence — Der  Fruhling  erwachte 
(Delilah's  Song  of  Spring) 

By  Ernestine  Schumann-Heink,  Contralto     (In  German)     88417      12-inch,  $3.OO 


By  Gerville-Reache,  Contralto 

DELILAH:     Spring  voices  are   singing, 

Bright   hope  they   are  bringing, 
All   hearts  making  glad. 
And  gone  sorrow's  traces, 
The  soft  air  effaces 
All   days  that   are   sad. 
The  earth  glad  and  beaming, 
With   freshness   is  teeming. 
In  vain  all  my  beauty: 


(In  French)      88244      12-inch,     3.OO 

I  weep  my  poor  fate! 
(She  gases  fondly  at  Samson.) 
When   night  is   descending, 
With  love  all  unending, 
Bewailing  my  fate. 
For   him   will    I    wait. 
Till    fond   love    returning, 
In   his  bosom  burning 
May   enforce   his   return! 

Samson  shows  by  his  hesitation  and  troubled  bearing  that  Delilah  has  shaken  his 
resolutions,  and  as  the  curtain  falls  he  is  gazing  at  her,  fascinated. 

ACT  II 

SCENE— Delilah's  Home  in  the  Valley  of  Soreck 

Delilah,  richly  attired,  is  awaiting  the  coming  of  Samson,  and  muses  on  her  coming 
triumph  over  his  affections,  and  the  plot  to  secure  his  downfall.  In  a  fine  air  she  calls  on 
Love  to  aid  her. 

Amour  viens  aider  (Love,  Lend  Me  Thy  Might) 

By  Louise  Homer,  Contralto  (In  French)     882O1      12-inch,  $3.00 

DELILAH  : 

O  Love!   in  my  weakness  give   power!  Could  he  only  drive  out  the  passion 

Poison    Samson's   brave   heart   for   me!  That    remembrance   doth   now  preserve. 

'Neath    my    soft    sway   may    he    be    vanquished;         But  he  is   under  my  dominion: 

Tomorrow   let  him   captive  be!  In  vain   his  people  may  entreat. 

Ev'ry  thought  of  me  he  would  banish,  Tis   I   alone  that   can   hold   him — 

And  from   his  tribe  he  would  swerve,  I'll    have   him   captive   at   my   feet! 

After  a  scene  between  Delilah  and  Dagon,  who  urges  her  not  to  fail  in  her  purpose, 
Samson  arrives,  impelled  by  a  power  he  cannot  resist. 

Delilah  greets  him  tenderly,  and  when  he  bitterly  reproaches  himself  for  his  weakness, 
she  sings  that  wonderfully  beautiful  song  of  love  and  passion. 

NOTE.— Text  on  this  page  from  Ditson  Edition  by  permission.    Copy't  1895,  Oliver  Ditson  Co. 


VICTOR    BOOK    OF    THE     OPERA— SAMSON    AND     DELILAH 


Mon  coeur  s'ouvre  a  ta  voix  (My  Heart 
at  Thy  Sweet  Voice) 

By  Louise  Homer,  Contralto 

(In  French)      88199      12-inch.  $3.0O 
By  Schumann-Heink,  Contralto 

(In  German)      88190     12-inch,     3.OO 
By  Jeanne  Gerville-Reache.  Contralto 

(In  French)      88184      12-inch,     3.OO 
By  Elsie  Baker,  Contralto 

(In  English)   *16192      10-inch,       .75 
By  Michele  Rinaldi  with  Vessella's  Band 

Comet     *  172  16      lO-inch,       .75 

This  lovely  air  of  Delilah,  perhaps  the  most  beautiful 

contralto  air  ever  written,  and  the  most  familiar  of  the 

numbers   in   the  opera,  is   in   the   repertoire    of    almost 

every  contralto. 

This  quotation  from  the  effective  translation  by 
Nathan  Haskell  Dole  is  from  the  Schirmer  libretto. 
(Copyright  1892,  G.  Schirmer.) 


DSL 

A I 


ns  wide  like  the  flower 


y  heart  at  thy  sweet  voice  opens 

Which  the  morn's  kisses  waken ! 
But,   that   I   may   rejoice,   that  my   tears   no   more   shower, 

Tell  thy  love  still   unshaken! 
O,  say  thou  wilt  not  now  le 


Repeat  thine   accents  tender, 
O  thou  dea 


Delilah  again! 
•'ry   passionate  vow, 
irest  of  men! 

Five  records  of  this  well-known  air  are  listed  here. 
Delilah  now  asks  that  Samson  confide  to  her  the  secret  plans  of   the  Hebrews,  and  when 
he  refuses  she  calls  the  Philistines,  who  are  concealed,  and  Samson  is  overpowered. 

ACT  III 

SCENE  I— A  Prison  at  Gaza 

Samson  is  shown  in  chains,  blinded  and  shorn  of  his  hair.     As  he  slowly  and  painfully 
pushes  a  heavy  mill  which  is  grinding  corn,  he  calls  on  Heaven  to  forgive  his  offence. 
A  file  of  guards  enter  and  conduct  him  to  the  Temple. 

SCENE  II— A  Magnificent  Hall  in  the  Temple  of  Dagon 

The  High  Priests  and  Philistines,  with  Delilah  and  the  Philistine  maidens,  are  rejoicing 
over  the  downfall  of  their  enemies.  The  music  of  the  opening  chorus  and  the  Bachanal  has 
been  given  here  in  a  fine  record  by  a  famous  Spanish  band. 

Coro  y  Bacanal  ( Chorus  and  Bachanal) 

By  Banda  Real  de  Alabarderos  de  Madrid  *6266O     10-inch,  $O.75 

They  have  sent  for  Samson  to  make  sport  of  him.  Delilah  approaches  him  and  taunts 
him  with  his  weakness.  He  bows  his  head  in  prayer,  and  when  they  have  wearied  of  their 
sport  Samson  asks  the  page  to  lead  him  to  the  great  pillars  which  support  the  Temple.  He 
offers  a  last  prayer  to  God  for  strength  to  overcome  his  enemies,  then,  straining  at  the 
pillars,  he  overthrows  them  The  Temple  falls  amid  the  shrieks  and  groans  of  the  people 

DOUBLE-FACED    SAMSON   AND   DELILAH    RECORDS 

/Samson  and  Delilah  Selection  (arr. by  Godfrey)  Pryor's  Band\ „,,_-,  .      ,  _, 

\      Romeo  and  Juliet  Selection  (Gounod)   (arr.  by  Godfrey)   Pryor's  Band f^3 

/My  Heart  at  Thy  Sweet  Voice — By  Elsie  Baker     (In  English)]  16192     io-inch          75 
I      Manon — Laughing  Song  By  Edith  Helena      (In  English)} 

My  Heart  at  Thy  Sweet  Voice     Cornet 

Michele  Rinaldi  with  Vessella's  Band 
Farewell  to  the  Forest   (Mendelssohn)     2.    Spring  Song  (Pinsuti) 

Victor  Brass  Quartet 

/Chorus  and  Bachanal  By  Banda  Real  de  Alabarderos\,  _,  ,  _      ._   -      , 

1      Minuet  from  2nd  Symphony     (Haydn)  By  Banda  Real (*2 

*Double-FaceJ  Record-Far  title  of  opposite  side  see  above  list. 


17216      lO-inch.        .75 


.73 


SAPHO 

OPERA  IN  THREE  ACTS 

Text  by  £mile  Augier ;  music  by  Gounod.  The  opera  was  first  presented  at  the  Opera, 
Paris,  April  16,  1851,  with  Mme.  Viardot,  and  was  the  first  work  Gounod  had  written  for  the 
stage.  In  1858  it  was  reduced  to  two  acts  and  revived.  Another  revival  occurred  in  Paris, 
April  2,  1884,  under  the  direction  of  Gounod.  The  first  London  production,  under  the 
title  Saffo,  occurred  at  Covent  Garden  in  1851,  with  Viardot,  Castellan,  Tamberlik  and 
Tambourini. 


Characters  with  the  Original  Cast 


SAPHO,  a  poetess 
PHAON 

GLYC£RE 

PYTHEAS 

ALCEE 
PRETRE 


Viardot 
Gueymard 

Poinsot 

Bremond 

Mari6 
Aymes 


The  scene  of  Gounod's  Sapho  is  laid  in  Mytilene, 
where  Sapho,  the  poetess,  rules.  She  has  fallen  in 
love  with  Phaon,  but  this  affection  proving  hopeless, 
she  leaps  from  the  rock  of  Lencadia  and  is  drowned. 

The  music  of  this  opera  is  little  known  in  America 
with  the  exception  of  the  beautiful  air,  O  ma  lyre 
immortelle,  a  fine  record  of  which  is  here  offered  by 
a  famous  contralto. 

O  ma  lyre  immortelle  (Oh,  My 
Immortal  Lyre) 

By  Jeanne  Gerville-Reache,  Contralto 

(In  French)     88166      12-inch,  $3.OO 


MME.    KRAUSS   AS   SAPHO 


SAPHO:     Where  am  I? 

Ah!   yes,   I   now   remember. 

All  which  ere  now   to  life  hath  bound  me, 

Is  no  more. 

For  me  there  now   remaineth 

Naught  but  night  eternal, 

Wherein  my  heart  may   rest  from  its  woe, 

Days  full   of  woe  abound; 

By  thee  my  grief  controlling, 

When  thy  sweet  tones  resound. 

In  vain  thy  voice,  soft  sighing, 

Strives  to  comfort  my  pain; 

Ah!   it  will  aye  remain: 

Of  this  last  wound  I'm  dying! 

"Pis  a  wound  of  the  heart; 

Grief  I  must  know  till   from  life  I   depart. 

Farewell,  thou  moonlight  tender, 

Shine  on  with  radiance  blest! 

Cold  wave,  I  now  surrender; 

Grant  me  eternal  rest. 

The  day  which  soon  is  dawning, 

Phaon  shall  light  for  thee, 

Think  not,  I  pray,  of  me, 

For  thee  returns  the  morning. 

Open,  thou  wat'ry  grave! 

I  soon  shall  sleep  evermore 

'Neath  the  wave. 


(Italian) 

IL  SEGRETO  DI  SUSANNA 

(Eel  Seh-gray  -toh  dee  Soo-zari -nah) 

THE  SECRET"  OF  SUZANNE 

(Soo-zan1) 

OPERA  IN  ONE  ACT 

From   the   French   of  Golisciani ;    text  by   Kalbeck ;    music    by   Ermanno  Wolf-Ferrari. 
First  production  Munich,  1909;  in  America,  Chicago,  1911,  with  White,  Sammarco  and  Daddi. 


Characters 

COUNT  GIL    (aged  thirty) 

COUNTESS  SUZANNE,  his  wife  (aged  twenty) . 
SANTE,  a  servant   (aged  fifty) 


.  .  .  Baritone 
. . . Soprano 
.  Acting  part 


Time  and  Place  :     A  drawing  room  in  Piedmont ;    1 840. 

II  Segreto  di  Susanna  is  a  playful  conceit,  with  a  very  simple  little  plot.  Count  Gil  is  very 
much  in  love  with  his  wife,  but  is  averse  to  cigarette  smoke,  and  Countess  Suzanne,  who  is  a 
devotee  of  the  cigarette,  takes  the  opportunity  to  smoke  during  her  husband's  absence. 

On  his  return  he  smells 
the  smoke  and  questions 
the  servant,  who  denies 
being  the  guilty  party. 
The  Count  immediately 
concludes  that  his  beau- 
tiful wife  is  receiving 
attentions  from  some 
Piedmont  gallant.  His 
•wife's  efforts  to  pacify 
him  are  unsuccessful,  and 
in  a  huff  he  leaves  the 
house.  On  his  departure 
Suzanne  lights  a  cigarette, 
but  on  her  husband's 
sudden  return  she  throws 
it  into  the  fire.  The  testy 
Count  notices  the  fresh 
smoke  and  rushes  about 
the  apartment  in  jealous 
rage,  determined  to  cap- 
ture the  culprit.  Failing 
to  find  any  one,  he  once 
moregoesout.  AsSuzannc 
attempts  to  enjoy  another 

cigarette,  the  Count  peeps  through  the  window,  and  seeing  the  smoke,  rushes  in  triumph  into 
the  room.  Suzanne  hides  the  cigarette  behind  her,  and  the  Count,  trying  to  reach  the  imag- 
inary man  whom  the  lady  is  concealing,  burns  his  hand  !  The  secret  is  out,  the  Count  for- 
gives Suzanne,  Suzanne  forgives  the  Count,  and  husband  and  wife  smoke  a  cigarette  together. 
Three  of  the  best  airs  of  the  opera  are  offered — the  first  being  the  charming  duet  of 
Suzanne  and  the  Count,  in  which  they  recall  their  first  meeting ;  the  second  the  Via  I  cost,  in 
•which  Suzannt.  entreats  her  husband  not  to  go  away  angry ;  and  the  last  the  song  of  Suzanne 
which  tells  of  the  delights  of  smoking. 

II  dolce  idillio  (Dost  Thou  Remember?) 

By  Geraldine  Farrar,  and  Pasquale  Amato.      (In  Italian)     89O57     12-inch,  $4.OO 

Via  !  cosi  non  mi  lasciate  (Do  Not  Go  Like  This) 

By  Geraldine  Farrar,  Soprano  (In  Italian)     87136     lO-inch.  $2.OO 

Oh  gioia,  la  nube  leggera  (What  Joy  to  Watch) 

By  Geraldine  Farrar,  Soprano  (In  Italian)     88424     12-inch.  $3.0O 

395 


(Italian) 


SEMIRAMIDE 


TRAGIC    OPERA    IN    TWO    ACTS 

Text  by  Rossi  ;  music  by  Gioachino  Antonio  Rossini.  It  is  founded  on  Voltaire's 
tragedy  Semiramis.  First  produced  at  the  Fenice  Theatre,  Venice,  February  3,  1823;  in 
London  at  the  King's  Theatre,  July  15,  1824.  In  French,  as  Semiramis,  it  appeared  in  Paris, 
July  9,  I860.  First  American  production  occurred  in  New  York,  April  25,  1826.  Some 
notable  American  revivals  were  in  1855  with  Grisi  and  Vestvalli  ;  in  1890  with  Adelina 
Patti  as  Semiramide;  and  in  1894  with  Melba  and  Scalchi. 


Cast  of   Characters 

SEMIRAMIDE,  or  SEMIRAMIS,  Queen  of  Babylon    .    .Soprano 
ARSACES,  commander  in  the  Assyrian  army,  after- 
ward the  son  of  Ninus  and  heir  to  the  throne .  .  Contralto 

THE  GHOST  OF  NINUS Bass 

OROE,  chief  of  the  Magi 

ASSUR,  a  Prince  of  the  blood  royal 

AZEMA,  Princess  of  the  blood  royal 

IDRENUS,  of  the  royal  household 

MITRANES,  of  the  royal  household 

Magi,  Guards,  Satraps,  Slaves 


....  Bass 
..  .Bass 
. Soprano 
.  .  .  Tenor 
.  Baritone 


Semiramide  is  perhaps  the  finest  of  Rossini's  serious 
operas,  but  although  it  was  a  gre.at  success  in  its  day,  its 
splendid  overture  and  the  brilliant  Bel  raggio  are  about  the 
only  reminders  of  it  which  remain. 

The  story  is  based  on  the  classic  subject  of  the  murder 
of  Agamemnon  by  his  wife,  called  Semiramis  in  the  Babylonian 
version.  It  is  a  work  which  the  composer  completed  in  the 
astonishingly  short  time  of  one  month,  but  •which  shows  his 
art  at  its  ripest. 

The  action  takes  place  in  Babylon  ;  Semiramide,  the  Queen, 

her  lover  Assur,  has  murdered  her  husband,  King  Ninus,  who,  in  the  second  act, 
it  from  the  tomb  and  prophesies  the  Queen's  downfall. 


GRISI     AS     SEMIRAMIDE 

assisted  by 
rises  in  spi 


Overture 

By  Police  Band  of  Mexico  City  *35167     12-inch,  $1.25 

By  Arthur  Pryor's  Band  31527     12-inch,     l.OO 

The  overture  opens  with  an  unusually  brilliant  introduction,  followed  by  a  beautiful 

chorale  for  brass  which  is  one  of  the  most  admired  portions  of  the  work.  The  familiar 
melody  which  forms  the  principal  theme  of  the  overture  then  appears  as  a  clarinet  passage. 
It  begins: 


The  finale  is  rather  long  drawn  out  for  modern  ears,  but  is  a  fine  example  of  its  kind, 
and  the  overture  is  a  most  showy  one,  very  popular  on  band  and  orchestra  programs. 
Two  splendid  records  of  this  famous  number  are  presented  here,  and  a  comparison  of  the 
playing  of  these  two  great  organizations  is  most  interesting. 

*  Double-FaceJ  Record — For  title  of  opposite  side  see  next  page. 


VICTOR   BOOK   OF    THE   OP  E  R  A— RO  S  SI  N  I 'S   SEMIRAMIDE 


The  Bel  raggio,  a  favorite  cavatina  with  all  prima  donnas,  and  a  brilliant  and   imposing 
air,  occurs  in  the  first  act. 

The  scene  shows  the  Temple  of  Belus,  where  a 
religious  festival  is  in  progress.  Semiramide  is  about  to 
announce  an  heir  to  the  throne  and  has  secretly  deter- 
mined to  elect  Arsaces,  a  young  warrior,  with  whom  she  has 
fallen  in  love,  unaware  that  he  is  in  reality  her  own  son. 

Bel  raggio  lusinghier     (Bright  Gleam  of 
Hope) 

By  Marcella  Sembrich,  Soprano 

(In  Italian)     88141      12-inch,     $3.OO 

Here  hope's  consoling  ray 

Bids  sorrow  hence  away, 

And  joy  calls  from  above! 

Arsaces  to  my  love  soon  will  return  dejected, 

But  ere  while  with  grief  I  drppp'd  my  head, 

Now  once  more  beams  my  smile! 

Hence  all  my  doubts  have  fled, 

No  more  I   feel  the  sway  of  grief  and  anguish 

dread! 

Yes!   now  hope's  consoling  ray 
Bids  dark  sorrow  hence  away, 
And  calls  down  joy  from  above, 
Awhile  in   this  breast  to  stay. 
Arsaces  will   return! 
Vision  enchanting,  my  spirit  haunting, 
With  fond  emotion  thou  fill'st  my  heart, 
Ah,  bright  smiles  the  morn 
When   dark  waves  of  sorrow 
Like  some  wild  ocean   sink  and  depart! 

Rossini,     who     objected 
music     by     famous     singers, 

air  in  so  elaborate  a  fashion  as  to  make  further  additions 
impossible.  But  even  as  left  by  Rossini,  Bel  raggio  is  not 
sufficiently  elaborate  to  show  the  skill  of  a  Sembrich, 
and  the  additions  with  which  the  diva  has  embellished  it 
not  only  make  it  more  dazzling,  but  belong  also  to  the 
true  spirit  of  the  air. 

Thus  the  inspiring  declamatory  passages,  with  their  bril- 
liant runs,  receive  a  lavish  addition  of  the  singer's  splendid 
high  notes,  notably  the  high  B  on  the  alfin  perme  brillo, 
and  the  astonishing  arpeggio  up  to  C  sharp  on  the  dal  mio 
pensier  which  follows. 

The  ensuing  cantabile  is  sung  with  all  the  legato  and  grace 
which  it  requires,  its  principal  figure  being  also  additionally 
embellished. 


to     the     ornamentation     of      hi 
is    said     to     have     written     thi 


DOUBLE-FACED  SEMIRAMIDE  RECORD 


Overture       By    Police    Band    of] 

Mexico  City 
Marche  Slave  (Op.  31) 

By  Arthur  Pryor's  Band! 


12-inch.  $1.25 


(German) 

SIEGFRIED 


MUSIC  DRAMA  IN  THREE  ACTS 
Second  Opera  of  the  Rhinegold  Trilogy 

Words  and  music  by  Wagner.  First  produced  at  Bayreuth,  August  16,  1876  It  was 
given  m  French  at  Brussels,  June  12,  1891,  and  subsequently  at  the  Opera  in  Paris  In  Lon- 
don (in  English)  by  the  Carl  Rosa  Company,  in  1898.  First  American  production  in  New 
York,  February  1,  1888. 


SIEGFRIED  ...... 

MIME  (A/ee'-mee)  . 

THE  WANDERER  (WOTAN) 
ALBERICH  (Ahf.ber.ik) 
FAFNER  (/v'- 


Characters 


. 
BRONNHILDE 


Tenor 

Tenor 

Baritone 

Baritone 

Bass 

Contralto 

,  Mezzo-Soprano 


There  is  little  of  tragedy  and  much  of  lightness  and  the  joy  of  youth  and  love  in  this 

rnost  beautiful  of  the  Ring  Cycle,  which  tells  of  the  young  Siegfried,—  impetuous,  brave,  joy- 
ful and   handsome  ;     and   Brunnhilde,    the   god-like   maid —       

unselfish,  lovely,  innocent,  who  finds   she   is   but  a  woman 

after  all. 

After  Sieglinde  had  been  saved  from  the  wrath  of  \Votan 

by    Brunnhilde   (related    in  the     last  part    of    Walkure),    she 

wanders  through  the  forest  and  dies  in  giving  birth  to  the 

child  Siegfried,  who  is  found  and  brought  up  by  Mime,  the 

Niblung. 

In  the  first  two  acts  of  Siegfried  the  hero  is  shown  in 

his  forest  home,  where  he  mends  his  father's  sword,  and  with 

it  slays  the  dragon.      Having  accidentally  tasted  the  dragon's 

blood,  he  becomes  able  to  understand  the  language  of  the 

birds,  which  tells  him  of  Brunnhilde,  the  fair  maiden  who 

sleeps  on  the  fire-encircled  rock.  He  follows  the  guidance 
of  one  of  the  birds,  cuts  through 
the  spear  of  Woian,  who  endeav- 
ors to  stop  him,  and  penetrates 
the  flames.  On  the  top  of  the 
rock  he  beholds  the  sleeping 
Valkyrie  covered  with  her  shield. 

He  removes  the  armor,  and  Brunn-  .SJKGIKII.D  AND  THE  SW..KD 

hilde  lies  before  him  in  soft,  wo- 
manly garments.  She  is  the  first  woman  he  has  ever  seen,  and  he 
kneels  down  and  kisses  her  long  and  fervently.  He  then  starts 
up  in  alarm ;  Brunnhilde  has  opened  her  eyes.  He  looks  at  her  in 
wonder,  and  both  remain  for  some  time  gazing  at  each  other.  She 
recognizes  him  as  Siegfried,  and  hails  him  as  the  hero  who  is  to 
save  the  -world.  This  part  of  the  trilogy  ends  in  a  splendid  duet. 

ACT  I 

SCENE— A  Forest.     At  One  Side  a  Cave 

Mime,  the  Niblung,  brother  of  Alberich,  found  Sieglinde  in  the 
forest  after  she  had  escaped  from  Wolan,  and  brought  up  her 
child,  knowing  that  it  was  Siegfried,  who  was  destined  to  kill  Fafner 
and  regain  the  Ring.  The  opera  opens  with  an  air  by  Mime,  who 
is  discovered  at  the  anvil  in  his  forest  smithy  trying  to  forge  a 
sword  for  Siegfried. 

399 


REISS    AS     MIMK 


Siegfried  and  the  Dragon 


VICTOR    BOOK    OF    THE    O  P  E  R  A— WAG  N  E  R'S    SIEGFRIED 


(Heartbreaking 


Zwangvolle  Plage  ! 
Bondage) 

By  Albert  Reiss,  Tenor 

(In  German)  74235  12-inch,  $1.50 
Mr.  Reiss'  wonderful  character  study  of  Mime,  the 
dwarf,  has  been  one  of  the  most  impressive  features  of 
the  Metropolitan  performances  during  the  past  few 
years.  His  impersonation  gains  each  year  in  the  sar- 
donic and  malignant  side  of  Mime's  nature,  but  is  always 
amusing,  nevertheless.  The  artist's  portrayal,  dramatic- 
ally and  vocally,  leaves  nothing  to  be  desired,  and  in 
the  episodes  where  the  dwarf  is  most  abject  and  fawn- 
ingly  malicious  he  is  superb. 

Siegfried,  in  forest  dress,  with  a  horn  around  his 
neck,  bursts  impetuously  from  the  woods.  He  is  driv- 
ing a  great  bear  and  urges  it  with  merry  roughness  to- 
wards Mime,  who  drops  the  sword  in  terror  and  hides 
behind  the  forge.  Taking  pity  on  the  frightened  dwarf, 
Siegfried  drives  the  bear  back  into  the  wood,  and  seeing 
the  sword,  breaks  it  over  the  anvil,  as  he  has  broken  all 
of  the  others.  He  questions  Mime  about  his  childhood, 
and  the  dwarf  tells  him  reluctantly  about  his  mother 
and  about  the  sword  his  father  had  broken  in  his  last 
fight.  Siegfried  demands  that  Mime  shall  mend  his 
father's  sword  without  delay,  and  goes  back  into  the  forest. 

Wotan  now  enters  and  in  answer  to  Mime's  questions  says  he  is  the  Wanderer,  and  speaks 
to  Mime  of  the  sword,  telling  him  that  only  he  who  knows  no  fear  will  be  able  to  forge  the 
broken  weapon.  After  the  Wanderer  has  departed,  Siegfried  returns,  and  Mime,  who  is  now 
beginning  to  be  afraid  of  the  youth,  tells  him  that  it  was  his  mother's  wish  that  he  should 
learn  fear.  "  What  is  this  fear  ?"  says  Siegfried,  and  Mime  attempts  to  describe  it. 

MIME:  Feltest  thou  ne'er  in  forest  dark, 

At   gloaming   hour    in    gloomy    spots, 

Feltest  thou  then,  no  grisly  gruesomeness  grow 

o'er  thy  fancy?  A;    < 

Balefullest  shudders   shake  thy  whole  body,    e 
All  thy  senses  sink  and  forsake  thee, 
In  thy  breast  bursting  and  big 
Beat  thy  hammering  heart? 

Siegfried  regretfully  admits  that  he  has  never  felt 
any  such  sensation.  Mimi,  in  despair,  then  tells  him 
of  the  Dragon  which  dwells  near  by.  Siegfried  eagerly 
asks  Mime  to  conduct  him  hither,  but  says  he  must 
have  his  sword  mended  first,  and,  when  Mime  refuses, 
he  forges  it  himself.  When  it  is  finished,  to  try  the  blade, 
he  strikes  the  anvil  a  mighty  blow  and  splits  it  in  half, 
while  Mime  falls  on  the  ground  in  extreme  terror. 
Siegfried  brandishes  the  sword  and  shouts  with  glee 
as  the  curtain  falls. 

ACT  II 

SCENE—  The  Dragon's  Cave  in  the  Forest 
Fafner,  who  has  changed  himself  into  a  dragon, 
the  better  to  guard  his  gold,  dwells  within  a  cave,  keep- 
ing constant  watch.  Alberich  is  spying  near  by,  hoping  to 
regain  the  treasure  by  killing  the  hero  whom  he 
knowswill  overcome  the  Dragon.  The  Wanderer  en- 
ters and  warns  Jllberich  of  the  approach  of  Siegfried. 


Alberich  wakes  the  Dragon  and  offers  to  save  its  life  in  return  for  the  Ring.  Fafner  contempt- 
uously refuses,  and  makes  light  of  the  hero's  prowess.  Wotan  departs,  laughing  at  the  dis- 
comfited Alberich,  who  hides  as  Siegfried  and  Mime  approach.  The  latter  is  still  trying  to 
terrorize  Siegfried  with  awful  descriptions  of  the  Dragon,  but  Siegfried  laughs  at  him  and 
finally  drives  him  away. 


VICTOR    BOOK    OF    THE     O  P  E  R  A— WAG  N  E  R'S     SIEGFRIED 


The  young  hero,  left  alone,  sits  down  under  a  tree  and 
meditates  about  his  mother,  whom  he  pictures  as  gentle  and 
beautiful.  His  dreaming  is  ended  by  the  song  of  the  birds,  and 
he  regrets  that  he  cannot  understand  their  language.  He  answers 
their  song  with  a  blast  of  his  horn,  which  disturbs  Fafner  and  the 
Dragon  utters  an  awful  roar,  which,  however,  only  makes  the 
youth  laugh.  The  Dragon  rushes  upon  him,  but  Siegfried  jumps 
aside  and  buries  his  faithful  sword  in  the  reptile's  heart. 

Having  accidentally  tasted  of  the  Dragon's  blood  by  carrying 
his  stained  hand  to  his  lips,  he  finds  to  his  astonishment  that  he 
is  able  to  understand  the  song  of  the  bird,  which  tells  him  to  go 
into  the  cave  and  secure  the  Ring.  Siegfried  thanks  the  warbler 
and  goes  into  the  cavern.  Mime  comes  back  and,  seeing  the  dead 
Fafner,  is  about  to  enter  the  cave  when  Alberich  stops  him  and  a 
heated  argument  occurs.  This  scene  has  been  given  for  the 
Victor  by  two  celebrated  impersonators  of  these  roles,  Goritz  and 
Reiss. 

Wohin  schleichst  du  ?     (Whither  Slinkest 
Thou  ?) 

By  Otto  Goritz,  Baritone,  and  Albert  Reiss,  Tenor 

(In  German)     64215      10-inch,  $1.OO 


nou,    hasty    and    sly,    slippery 
hce   here? 


ALBERICH: 

Wither    slinkest 

scamp  ? 
MIME: 

Accursed  brother,    what   brings 

I  bid  thee  hence. 
ALBERICH  : 

Graspest   thou,    rogue,   towards   my  gold? 

Dost  lust  for  my  goods? 
MIME: 

Yield   the   position  !      This   station   is  mine. 

What   stirrest   thou  here? 
ALBERICH: 

Startled  art  thou   from   stealthy   concerns,   that 

I've  disturbed? 
MIME: 

What   I   have   shaped   with   shrewdest   toil   shall 

not  be   shaken. 
ALBERICH  : 

Was't  thou   that   robbed   the   golden   Ring   from 
the   Rhine? 

Or   charged   it   with   great   and   choice    enchant- 

ment around? 
MIME: 

Who   formed  the  Tarnhelm   which   to  all   forms 

r    wt-rt    thou 


By    thee    'twas    wanted;    its    worker 

ALBERICH: 

What  couldst  thou   ere,   fool, 

P.y   thyself   have   fancied  and   fashioned? 

The  magic   Ring  made   the   dwarf   meet   for  the 

task. 
MIKE: 

Where   now    is   thy    Ring? 

The  giants  have  robbed  thee.   thou   recreant! 

What  thou  hast  lost,  by  my  lore,  belike,   I  will 

gain. 
ALBERICH  : 

T'y    the    boy's    exploit 

Shalt  thou,  booby,  be  bettered? 

Thou  shalt  have  it  not, 

For  its  holder   in   truth   is  he. 
MIME: 

I    nourished    him. 

And   his  nurse  now   shall   he  pay: 

For    toil    and    woe    long    while    have    T 
reward. 


ted 


VICTOR    BOOK    OF    THE    OPERA-WAGNER'S    SIEGFRIED 


ALBERICH: 

For  a  bantling's  keep 

Would  this  beggarly,  niggardly  boor, 

Bold  and  blustering, 

Be  well   nigh  as  a  king? 

To   rankest  of   doge  booteth   the   ring 

Far  rather  than   thee: 

Never,   thou   rogue,   shall   reach   thee   the   magi 

round! 
MIME: 

Then  hold  it  still  and  heed 


Thy  hoarded  Ring. 
Be  thou  head,  and 


well, 


yet  hail  me  as  a  brother! 

For  my  own  Tarnhelm, 

Excellent  toy,   I'll   tender  it  thee! 

'Twill   boot   us  twain, 

Twin   we  the   booty  like   this. 
ALBERICH   (laughing  'scornfully): 

Twin  it  with  thee? 

And  the  Tarnhelm  too? 
MIME    (beside   himself): 

Wilt   not   bargain?      Wilt    not   barter? 

Giv'st  thou  to  me  no  booty? 
ALBERICH: 

Not  an  atom,  not  e'en  a  nail's  worth! 
MIME   (furiously): 

In  the   Ring  and  Tarnhelm 

Ne'er  shall   thou   triumph! 


Nought   talk   we   of  shares! 
Siegfried,  the  caustic  boy, 


Shall 
ALBERICH: 

The   Tarnhelr 
MIME: 


ather  of  mine! 
he   holds!— 


Aye,  and  the   Ring! — 
(With  an  evil  laugh): 


gh): 

Let   him   the   Ring  to   thee   render! 
I  ween  full  soon  I  shall  win   it. 
(He  slips  back  into  the  wood.) 
ALBERICH: 

And  yet  to  its  lord 

Shall    it   alone   be   delivered! 

(He  disappears  in   the  cleft.) 

They  hide  themselves  as  Siegfried  comes  from  the  cave  with  the  Ring,  the  value  of 
•which  he  does  not  yet  comprehend.  The  bird's  voice  is  again  heard  explaining  its  history, 
and  revealing  the  intended  treachery  of  Mime.  When  the  dwarf  approaches,  Siegfried 
is  able,  by  the  magic  of  the  Ring,  to  read  his  thoughts.  Horrified  to  learn  that  Mime  is  plan- 
ning to  kill  him,  he  strikes  down  the  dwarf  and  throws  his  corpse  in  the  cave,  rolling  the 
body  of  the  Dragon  before  the  entrance. 

Wearied  by  his  adventures,  Siegfried  reclines  under  the  tree  and  asks  the  bird  to  sing 
again.  This  time  the  songster  reveals  to  him  that  Brunnhilde  lies  sleeping,  waiting  for  the 
hero  •who  is  able  to  reach  the  fire-encircled  spot. 

SIEGFRIED   (starting  impetuously  to  his  feet): 
O   lovely   song!      Sweetest   delight! 
How  burns  its  sense  my  suffering  breast! 
But  once  more  say  to  me,   lovely  singer, — 
May   I"  the  furnace  then  break  through? 
And   waken   the   marvelous  bride? 
THE  BIRD: 

The  bride   is   won. 

Brunnhilde    awaked    by    faint-heart   ne'er: 

But   by   him    who   knows   not   fear. 

He  laughs  with  delight,  saying,  "Why,  this  stupid  lad  who  knows  not  fear, — it  is  I!" 
and  follows  the  bird,  who  flies  ahead  to  guide  him  to  Brunnhilde's  fiery  couch. 

ACT  III 

SCENE— A  Wild  Region  at  the  Foot  of  a  Rocky  Mountain 

The  act  opens  -with  a  long  scene  between  Erda  and  Wotan.  The  god  summons  his 
earth  goddess  wife  and  tries  to  consult  her  regarding  the  coming  deliverance  of  the  world 
through  Siegfried  and  Brunnhilde.  The  goddess,  however,  is  confused  and  bewildered  by 
Wotan  s  eager  questions  and  fails  to  give  counsel,  asking  only  to  be  allowed  to  return  to  her 
sleep.  Wotan,  wearying  of  the  struggle  against  fate,  renounces  his  sway  over  the  world, 
realizing  that  the  era  of  love  must  supplant  the  rule  of  the  gods. 


THE  BIRD: 
Hey!     Siegfr 


ley!     bie 

dwarf! 

I  wot  for  him  now  a  glorious  wife. 
In    guarded    fastness    she    sleeps, 
Fire  doth   emborder  the  spot: 
O'erstepped  he  the  blaze, 
Waked    he   the   bride. 
P.riinnhilde    then   would   be   his! 


iw     the     sinister 


VICTOR    BOOK     OF    THE    O  PE  RA— WAG  N  E  R'S    SIEGFRIED 


Siegfried  approaches  and  Wolan  attempts 
to  bar  his  way  as  a  final  trial  of  his  courage. 
The  youth,  however,  makes  short  work  of  the 
weary  god,  shatters  his  spear  at  a  single 
stroke,  and  continues  on  his  way  singing: 


SIEGFRIED: 
Ha!  He 
Roads  a 


enly   glow!    brightening   glare! 

now    opening    radiantly    round    me! 
In  fire  will   I   bathe, 
Through  fire   will   I   fare  to  my  bride! 
Oho!  Oho!  Aha!  Aha!  Gaily!  Gaily! 
Soon  greets  me  a  glorious  friend! 
As  the  hero  plunges  fearlessly  through  the 
fire    the    flames   gradually   abate,  and   when  he 
reaches  the    sleeping  Briinnhilde    they    die    out 
completely.       Siegfried  approaches    the    uncon- 
scious maiden  with  awe  and  removes  her  helmet. 
He  is  speechless   with   admiration,  and  naively 
asks  if  the  strange  emotion  which  he  feels  can 
be  fear.     Finally,  when  he  presses  an  ardent  kiss 
on  her  lips  she  awakes  and  greets  him  joyfully 
as  the  hero  Siegfried  who  is  to  save  the  world. 
After  a  long  scene  in  which  Siegfried's  ardent 
•wooing  is  gently  repressed    by    Briinnhilde,    he 
finally  seizes  her  in  his  arms.     Frightened,  she 
repulses  him,  crying: 
BRUNNHILDE: 

No   god  e'en   has  touched  me! 
As  a  maiden  ever  heroes  revered  me: 
THE  AWAKENING  OF  BRUNNHILDE  —  ACT  in  Virgin   I   hied  from   Valhalla!  — 

Woe's   me!      Woe's  me! 

Woe  for  the  shame,  the  shunless  disgrace! 
My  wak'ning  hero   deals   me  this  wound! 

Siegfried  pleads  his  love  and  asks  her  to  be  his  bride,  but  she  begs  him  to  spare  her  in 
a  wonderful  plea,  Deathless  Was  I,  sung  here  by  Mme.  Gadski. 


Ewig  war  Ich 
Siegfried) 


(Deathless  Was  I)     (Briinnhilde's  Appeal  to 


(In  German)     88186     12-inch,  $3.0O 


By  Johanna  Gadski,  Soprano 

BRUNNHILDE: 

Deathless  was  I,   deathless  am   I, 

Deathless    to    sweet    sway    of   affection — 

But    deathless    for   thy   good! 

O   Siegfried,   happiest  hope  of  the   world! 

Life   of   the   universe!      Lordliest   hero! 

Leave  me  in  peace! 

Press  not  upon  me  thy  ardent  reproaches! 

Master   me   not    with   thy   conquering    migh 

Saw'st   e'er   thy   face   in   crystal   floods? 

Did  it  not  gladden  thy  glance? 
But  the  impetuous  hero  resumes   his  wooing,  and   love   finally    conquers    the    god-like 
maiden.     She  laughs  in  a  transport  of   love,  exclaiming : 
BRUNNHILDE: 

O   high-minded  boy!      O   blossoming   hero!  Gladly  glide  to  destruction, 

Thou   babe   of  prowess,  Gladly  go  down  to  death ! 

Past   all   that  breathe!  Far  hence,  Walhall'  lofty  and  vast, 

Gladly  love   do   I   glow  with,  Let  fall   thy  structure   of  stately   tow'ra; 

Gladly  yield  to  thee  blindly,  Farewell,    grandeur    and    pride    of   gods! 

and  throws  herself  into  Siegfried's  arms  as  the  curtain  falls. 


When   into   wavelets   the   water  was   roused. 
The  brook's  glassy  surface  broken   and  flawed, 

Nought   but   ripples   swirling   round! 

So   disturb  me   no  more,   trouble   me   not: 

Ever  then   thou  wilt  shine 

In    me   an   image    reflected, 

Fair  and  lovely,  my  lord! — 

O    Siegfried!    Siegfried!      Light   of   my   soul! 

Destroy  not   thy   faithful   slave! 


MISCELLANEOUS  SIEGFRIED  RECORDS 

Siegfried  Fantasie  By  Sousa's  Band     31621      12-inch,  $1.0O 

A  superb  record  of  some  of  the  most  famous  portions  of  Wagner's  great  music  drama, 
including  several  of  the  leit  motive — Siegfried's  Hunting  Call,  The  Sword,  The  Bird,  and  Casting 
of  the  Steel,  with  part  of  Siegfried's  wonderful  Song  of  the  Forge. 


SNEGOUROTCHKA 

(French)  (English) 

LA  FILLE  DE  NEIGE     THE  SNOW  MAIDEN 


OPERA  IN  FOUR  ACTS  AND  A  PROLOGUE 

Text  by  Ostrovsky,  based  on  the  old  folk-lore  tale  of  the  Snow  Maiden.  Music  by 
Nicolai  Andreyevich  Rimsky-Korsakoff.  First  production  St.  Petersburg,  March,  1882. 
Produced  at  the  Private  Opera,  Moscow,  1911.  In  Paris,  at  the  Opera  Comique,  June,  1908. 
The  work  has  not  yet  been  given  in  America. 


Characters 

SNEGOUROTCHKA,  the  Snow  Maiden 

MISGUIR,  her  lover 

SHEPHERD  LEHL  

CZAR  BERENDEY 

BOBY 

BOBYLYCKA,  his  wife 

KOUPAVA,  betrothed  to  Misguir 


Soprano 

Baritone 

Contralto 

Tenor 

Bass 

Soprano 

.  .  .Contralto 


The  scene  is  laid  in  Bevendey,  an  imaginary  province  of  Russia. 
405 


VICTOR    BOOK    OF     THE    OPER  A— T  HE     SNOW     MAIDEN 


Those  who  have  enjoyed  Mme.  Gluck's  beautiful  inter- 
pretation of  The  Snov>  Maiden  air  will  like  to  know  something 
of  this  Russian  opera,  and  we  therefore  give  a  brief  sketch  of 
the  plot. 

The  opera  abounds  in  picturesque  scenes,  representing 
Winter  and  Spring,  and  the  poetic  little  story  is  supposed 
to  take  place  in  the  happy  country  of  Berendey,  an  unknown 
province  of  an  imaginary  Russia,  ruled  by  a  benevolent 
old  Czar  who  has  devoted  his  life  to  the  happiness  of  his 
people,  governing  his  kingdom  by  the  law  of  love. 

The  beautiful,  unknown  Snegourolchka,  daughter  of  old 
Winter  and  the  fairy  Spring,  is  found  one  cold  morning  by 
some  villagers,  abandoned  in  the  forest,  and  the  old  drunkard, 
Boby,  and  his  wife,  Bobylycf(a,  adopt  her  without  knowing 
her  parentage.  Misguir,  a  merchant,  falls  in  love  with  her, 
abandoning  his  sweetheart  Koupava,  but  Snegourotchfya,  as  her 
name  indicates,  is  made  of  ice,  and  her  coldness  and  indif- 
ference discourage  all  the  young  men  who  are  infatuated 
with  her  beauty.  Even  the  handsome  shepherd  Lehl,  who 
sings  such  wonderful  songs,  gives  up  in  despair  and  offers 
his  heart  to  Koupava.  The  old  Czar  is  grieved  that  this  cold- 
ness has  entered  his  kingdom,  and  offers  the  hand  of  the 
Snotv  Maiden  and  a  handsome  gift  besides  to  any  one  who 
can  win  her  love.  Snegourotchl^a  finds  it  impossible  to  love, 
and  appeals  to  her  mother,  the  fairy  Spring,  who  invokes  the 
aid  of  the  flowers — the  carnation  lending  its  grace,  the  rose  its 
heart  and  the  jasmine  its  languor.  This  influence  gradually 
touches  the  heart  of  the  Snow  Maiden,  and  she  finds  herself 
falling  in  love  with  the  handsome  Misguir.  They  both  attend  the  festival  of  lovers  and  present 
themselves  to  the  good  Czar  as  a  betrothed  couple.  But,  alas,  at  the  first  kiss  from  her  lover 
the  little  snowflake  melts  and  disappears,  while  Misguir,  in  despair,  throws  himself  into  the  river. 
This  dainty  little  shepherd  song  is  the  gem  of  the  opera — a  tender,  melodious  air  which 
Miss  Gluck  sings  exquisitely  in  perfect  English. 

Song  of  the  Shepherd  Lehl 

By  Alma  Gluck,  Soprano  (In  English)     64209      lO-inch,     $1.0O 


406 


• 


SCENE ACT    III,    SCEJ> 


(Ita 


(English) 

LA  SONNAMBULA-THE  SOMNAMBULIST 

(Lah  Son-nahm -boo-lah) 

OPERA  IN  THREE  ACTS 

Libretto  by  Felice  Romani ;  music  by  Vincenzo  Bellini.  Produced  at  the  Teatro  Carcano, 
Milan,  March  6,  1831  ;  Paris,  October  28,  1831  ;  and  at  the  King's  Theatre,  London,  July  28th 
of  the  same  year.  At  Drury  Lane  in  English,  under  the  Italian  title,  May  I,  1833.  First 
performance  in  New  York,  in  English,  at  the  Park  Theatre,  November  13,  1835,  with  Brough, 
Richings,  and  Mr.  and  Mrs.  Wood.  First  performance  in  Italian  in  New  York,  Palmo's 
Opera  Company,  May  1 1,  1844.  Revived  in  1905  at  the  Metropolitan  with  Caruso,  Sembrich 
and  Plancon;  at  the  Manhattan  Opera,  1909,  with  Tetrazzini,  Trentini,  Parola  and  de 
Segurola. 


Characters 

COUNT  RUDOLPH,  lord  of  the  village 

TERESA,   milleress 

AMINA,  orphan  adopted  by  Teresa,  betrothed   to  Elvino . 

ELVINO,  wealthy  peasant 

LISA,   inn-keeper,  in  love  with  Elvino 

ALESSIO,  peasant,  in  love  with  Lisa 

A  NOTARY  

Peasants  and  Peasant  Women. 


Bass 

.  Mezzo-Soprano 

Soprano 

Tenor 

Soprano 


The  scene  is  laid  in  a  Swiss  village. 


How  our  grandfathers  and  grandmothers  doted  on  this  fine  old  opera  by  Bellini!  In 
the  '30's  it  was  a  novelty  by  a  young  and  gifted  composer;  by  1850  it  was  part  of  every 
opera  season  and  shone  through  a  halo  of  great  casts  —  Malibran,  Pasta,  Jenny  Lind,  Gerster, 
Campanini,  Grisi  —  and  in  the  '60's  and  '70's  it  continued  to  be  popular.  Then  came  the 


Wagnerian  era,  and  the  pretty  little  pastoral  work  was  all  but  forgotten. 

Now,  however,  Italian  opera  of  the  old-fashioned  kind  has  begun  to  be  a 


pprecated  once 
itnessing   this 


op 

more,  and  even  the  Wagnerites  admit  that  there  may  be   some   pleasure 
charming  little  work, 

ACT  I 

SCENE—  A  Village  Green 

The  peasants  are  making  merry  in  honor  of  the  marriage   of   Amina  and   Elvino.      Lisa, 
the  hostess  of  the  inn,  enters  and  gives  way  to  bitter  reflections.      She  also  loves  Elvino,  and 


VICTOR    BOOK    OF    THE    OPERA  — LA     SONNAMBULA 


her  jealousy  finds  expression  in  a  melodious  air,  Sounds  So  Joyful.  Alessio,  a  villager  who 
fancies  Lisa,  tries  to  console  her,  but  she  repulses  him.  Amina  and  her  friends  enter,  fol- 
lowed soon  after  by  Elvino,  and  the  marriage  contract  is  signed.  Elvino  places  the  ring  on 
his  bride's  finger,  and  they  sing  a  charming  duet,  Take  Now  This  Ring. 

Prendi  1'anel  ti  dono  (Take  Now  This  Ring) 

By  Maria  Galvany  and  Fernando  De  Lucia      (In  Italian)     89O45     12-inch,  $4.0O 
By  Emilio  Perea,  Tenor  (In  Italian)     *62O92     10-inch,       .75 

Two  renditions  of  this  number  are  given  here,  the  Perea  record  including  only 
Elvino's  solo  at  the  beginning  of  the  duet.  The  words  are  not  given,  being  merely  a  suc- 
cession of  flowery  phrases  to  which  Bellini  has  written  his  delightful  melodies. 

The  nuptial  celebration  is  interrupted  by  the  sound  of  horses'  hoofs,  and  a  handsome  and 
distinguished  stranger  enters,  inquires  the  way  to  the  castle,  and  learning  that  it  is  some 
distance,  decides  to  remain  at  the  inn.  He  looks  around  him,  appearing  to  recognize  the 
scene,  and  sings  his  fine  air,  Vi  ravviso. 

Vi  ravviso     (As  I  View  These  Scenes) 

By  Perello  de  Segurola,  Bass 
(In  Italian)  *62O92      lO-inch,     $O.75 

COUNT: 

As   I   view   the    scene,    how   familiar   that   mill- 
stream,   yon   fountain,   those   meadows! 
Oh   remembrance   of  scenes   long  vanish'd, 
Soft   enchantment   long   lost   and  banish'd, 
Where   my   childhood  serenely   glided, 
Where  the  joyous  moments  flew; 
Oh  how  peaceful  have  ye  abided, 
While  those  days  nought  can  renew! 

The  stranger  inquires  the  reason  for  the 
festivities,  and  is  presented  to  the  pretty  bride, 
in  whom  he  is  much  interested.  He  tells  the 
peasants  that  in  his  childhood  he  lived  with 
the  lord  of  the  castle,  and  now  brings  news 
of  the  lord's  only  son,  who  disappeared  some 
years  since. 

Amina' s  mother,  Teresa,  now  says  that  as 
night  is  falling  they  must  go  within,  as  the 
phantom  may  appear.  The  stranger  is  told 
that  a  spectre  has  been  often  seen  of  late,  and 
he  scoffs  at  the  tale,  but  the  peasants,  in  an 
effective  chorus,  describe  the  appearance  of 
the  ghost. 

Ah  !  fosco  ciel !  ("When  Daylight's  Going) 

By  La  Scala  Chorus  (In  Italian)     *62642     lO-inch,  $0.75 


CHORUS: 

When    dusky    nightfall    doth    shroud    the    sun- 
beam, 

And  half  repulses  the  timid  moonbeam, 
When   thunder  boometh;    where   distance   loom- 

eth; 

Floating  on  mist,  a  shade  appears! 
In  filmy  mantle   of  pallid  whiteness, 
The  eye  once  gentle  now  glaring  brightness, 
Like    cloud  o'er  Heaven   by  tempest   driven, 
Plainly  contest  the  phantom  wears! 
RUDOLPH : 

You  are  all  dreaming;  'tis  some  creation 
frighten  youth. 


CHORUS: 

Ah,   no  such  folly  in   our  relation , 

We  all  have  seen  it,  in  very  truth. 

And  wheresoever   its  pathway  falleth 

A  hideous  silence  all  things  appalleth; 

No  leaflet  trembles,   no  zephyr  rambles, 

As   'twere  a  frost   the  brook  congeals. 

The  fiercest  watchdog  can  nought  but  cower, 

A  mute  true  witness  of  its  fell  power. 

The   screech-owl   shrieking,    her   haunt   seeking, 

Far  from  the  ghost  her  dark  wing  wheels. 

RUDOLPH: 

'Tis  fright  for  youth.     I   will   discover 
What  hidden  mystery  your  tale  conceals. 


Of  mere  gossips,  to 

The  stranger  now  desires  to  retire  and  is  shown  to  his  room.  Amina  and  Elvino  remain, 
and  the  latter  reproaches  his  bride  for  her  interest  in  the  guest;  but  at  the  sight  of  her  tears 
he  repents  his  suspicions,  and  the  act  closes  with  a  duet  by  the  reconciled  lovers. 

*  Doutle-Faced  Record— For  title  of  opposite  side  see  list  on  page  410. 

408 


VICTOR    BOOK     OF    THE     OPERA— LA     SONNAMBULA 

ACT  II 

SCENE — The  Apartment  of  the  Stranger 

The  guest  muses  that  he  might  have  done  •worse  than  stop  at  this  little  inn — the  people 
are  courteous,  the  women  pretty,  and  the  accommodations  good.  Lisa  enters  and  asks  if  he 
is  comfortable,  calling  him  "  my  lord,"  the  villagers  having  suspected  that  he  is  the  Count 
Rudolph. 

The  Count,  although  somewhat  annoyed  that  his  identity  is  revealed,  takes  it  good- 
naturedly,  and  even  flirts  a  little  with  the  buxom  landlady.  She  coyly  runs  away,  dropping 
her  veil  as  she  does  so. 

Amina  now  appears  at  the  window,  walking  in  her  sleep.  She  unlatches  the  casement 
and  steps  into  the  room,  saying  in  her  sleep,  "  Elvino,  dost  thou  remain  jealous  ?  I  love  but 
thee."  The  Count  is  at  first  astonished,  but  soon  sees  that  the  young  girl  is  asleep.  Just 
here  Lisa  peeps  into  the  room,  and  seeing  Amina,  runs  off  scandalized.  Amina,  in  her 
dream,  again  goes  through  the  marriage  ceremony,  and  entreats  Elvino  to  believe  that  she 
loves  him,  finally  throwing  herself  on  the  bed  in  a  deep  sleep.  The  Count  is  somewhat 
puzzled  at  the  situation,  and  finally  deciding  to  leave  the  young  girl  in  possession  of  the 
room,  goes  out  by  the  window. 

Elvino  and  the  villagers,  who  have  been  summoned  by  Lisa,  now  enter  and  are  aston- 
ished to  see  Amina  asleep  in  the  Count's  room.  She  wakes  at  the  noise,  bewildered,  and 
runs  to  Elvino,  who  repulses  her  roughly.  She  is  met  with  cold  looks  on  every  hand,  and 
sinks  down  in  despair,  crying  bitterly.  Rousing  herself,  she  begins  the  duet,  D'un  pensiero. 

D'un  pensiero  (Hear  Me  Swear,  Then) 

By  Giuseppina  Huguet,  Soprano;  Aristodemo  Giorgini,  Tenor; 

and  Chorus  (In  Italian)     88255     12-inch,  $3.OO 

AMINA:  ELVINO: 

Not   in   thought's  remotest  dreaming,  Heav'n  forgive  ye,  this  guilt  redeeming; 

Was  a  crime  by  me  intended:  May  thy  breast  be   ne'er  thus   rended; 

Is  the  little  faith  now  granted,  With  what  love  my  soul  was  haunted, 

Fit  return  for  so  .much   love?  Let  these   burning  tear-drops  prove! 

Finding  all  turned  against  her  except  her  mother,  she  runs  to  the  maternal  arms,  while 
Elvino  rushes  from  the  room.  The  curtain  falls. 

ACT  III 

SCENE  I— A  Shady  Valley  near  the  Castle 

Amina  and  Teresa  enter  on  their  way  to  the  castle  to  plead  with  the  Count  to  clear  the 
girl's  good  name.  Seeing  Elvino,  Amina  makes  another  effort  to  convince  him  she  is  still 
true,  but  he  reproaches  her  bitterly,  takes  the  ring  from  her  finger,  and  rushes  away. 

SCENE  II — A  Street  in  the  Village.      Teresa's  mill  on  the  left 

The  villagers  enter  and  inform  Lisa  that  Ehino  has  transferred  his  affections  to  her.  He 
enters  and  confirms  the  good  news,  and  they  go  toward  the  church.  The  Count  stops 
them,  and  assures  Elvino  that  Amina  is  the  victim  of  a  dreadful  misunderstanding.  Eloino 
refuses  to  listen  to  him  and  bids  Lisa  follow  him  to  the  church,  but  they  are  again  inter- 
rupted by  Teresa,  who  has  learned  of  the  proposed  marriage,  and  now  shows  Lisa's  veil 
which  she  had  found  in  the  Count's  room.  "Deceived  again,"  cries  Elvino,  and  asks  if  any 
of  these  women  are  to  be  trusted. 

Rudolph  assures  him  again  that  Amina  is  guiltless,  and  Elvino  desperately  says,  "  But  where 
is  the  proof?"  "There,"  cries  the  Count,  suddenly  pointing  to  Amina,  who  in  her  night 
dress  comes  from  a  window  in  the  mill  roof,  carrying  a  lamp.  All  watch  her  breathlessly, 
fearing  to  wake  her  lest  she  fall.  She  climbs  down  to  the  bridge  over  the  wheel,  and  de- 
scends the  stairs. 

AMINA  (advancing,  still  in  her  sleep,  to  the  mid-         (Amina,    clasping    her    hands    on    her    bosom, 
die  of  the  stage)  •  takes    from    vt    the    flowers    given     her    by 

Oh,  were   I  but  permitted  Elvino  in  the  first  Act.) 

Only  once  more  to  see  him,  AMINA: 

Ere  that  another  he  doth  lead  to  the  altar!  Sweet   flowers,   tenderest   emblems, 

RUDOLPH   (to  Elvino) :  Pledging    his    passion,    from    ye    ne'er    will    I 

Hear   her sever. 

TERESA-  Still  let  me  kiss  you— 

She  is  thinking,  speaking  of  thee!  But  your  bloom  is  fled  forever! 

The  first  of  the  two  lovely  airs  for  Amina  in  this  act  now  occurs. 

409 


VICTOR    BOOK    OF    THE     OPERA  — LA     SONNAMBULA 
Ah !  non  crcdea  mirarti  (Could  I  Believe) 

By  Luisa  Tetrazzini.  Soprano  (In  Italian)      88305      12-inch.  $3.OO 

By  Graziella  Pareto,  Soprano  (In  Italian)      76O03     12-inch,     2.OO 

By  Alma  Gluck,  Soprano  (In  Italian)      74263     12-inch,     1.5O 

Perhaps  the  most  effective  part  of  the  opera  lies  in  this  sleep-walking  scene,  when  Amina, 

in  a  state  of  somnambulism,  walks  along  the  roof  of  the  building,  and  finally  climbs  down  to 

the  ground.     This  act  establishes  her  innocence,  and  clears  up  a  mystery  which  had  caused 

her  good  character  to  be  doubted. 

Ah  I  non  credea  is  sung  by  the  sleeper  as  she  descends  from  her  dangerous  position, 
while  her  lover  and  friends  watch  in  terror,  fearing  to  awaken  her.  It  opens  with  a  beauti- 
ful cantabile  in  the  key  of  A  minor,  its  pathos  being  fully  in  keeping  with  the  plight  of  Amina, 
who,  being  discarded  by  her  lover  and  doubted  by  her  friends,  weeps  over  her  short-lived 
love  and  happiness.  At  the  words  "  Potrio  novel  oigore,  "  the  pathetic  note  gives  place  to  a 
more  ardent  emotion,  as  hope  is  mingled  with  her  despair. 

Regarding  the  flowers  which  her  lover  had  given  her,  and  which  are  now  faded,  she 
exclaims : 
AMINA: 

Ah!   must  ye  fade,  sweet  flowers,  But  tho'   no   sunshine   o'er  ye, 

Forsaken   by   sunlight  and  showers,  These   tears  might   yet   restore  ye, 

As  transient  as  lover's  emotion  But  estranged  devotion 

That   lives  and  withers  in   one   short  day!  No  mourner's  tears  have  power  to  stay! 

—  From  the  Ditsou  Kdition. 

The  singer's  aim  has-been  to  illustrate  the  simple  charm  of  the  character  of  Amina  and 
the  pathos  of  the  scene,  rather  than  exhibit  brilliance  of  ornament.  The  cadenza  at  the 
close,  although  typical  of  Tetrazzini's  marvelous  powers  of  execution,  is  •well  subordinated 
to  the  character  of  the  song,  and  pleases  as  much  by  its  delicate  beauty  as  by  its  amazing 
technical  perfection. 

Eloino  can  restrain  himself  no  longer,  and  rushes  to  Amina,  who  wakes,  and  seeing 
Elvino  on  his  knees  before  her,  utters  a  cry  of  delight  and  falls  in  his  arms. 

The  opera  then  closes  with  the  joyous,  bird-like  air,  Ah  I  non  giunge,  which  is  a  fitting 
close  to  this  charming  work,  with  its  graceful  and  tender  music  and  peaceful  pastoral  scenes. 
In  Amina,  Mme.  Tetrazzini  finds  a  most  congenial  role,  and  for  her  sake  alone  Sonnambula 
would  always  be  worth  hearing.  She  has  the  voice,  style  and  technical  skill  to  make  such 
music  as  this  captivating;  while  Sembrich's  impersonation  of  the  ingenuous  village  beauty, 
who  is  all  liveliness  and  joy,  leaves  nothing  to  be  desired.  Hers  is  a  graceful  and  natural 
impersonation,  and  the  delightful  sleep-walking  scene  is  given  with  a  delicacy-  which  is 
admirable. 

Ah,  non  giunge  (Oh  Recall  Not  One  Earthly  Sorrow) 

By  Luisa  Tetrazzini,  Soprano  (In  Italian)      88313      12-inch,  $3.0O 

By  Marcella  Sembrich,  Soprano  (In  Italian)      88O27      12-inch,     3.OO 

By  Edith  Helena,  Soprano  (In  English)  *35067     12-inch,     1.25 

AMINA: 

Do  not  mingle  one  human  feeling  Ah,  embrace  me,   and  thus  forgiving, 

With  the  rapture  o'er  each  sense  stealing;  Each  a  pardon  is  now  receiving; 

See  these  tributes,   to  me  revealing  On  this  bright  earth,  while  we  are  living, 

My   Elvino,  true  to  love.  Let  us  form  here  a  heaven  of  love! 

(Curtain.) 


DOUBLE-FACED    SONNAMBULA  RECORDS 

(Ah,  non  giunge                By  Edith  Helena,  Soprano  (In  English)}  „,„,  _             .      ,      t     _- 

I      Rigoletto—Caro  name         '    By  Edith  Helena,  Soprano  (In  English)  f35 

Vi  ravviso   (As  I  View  These  Scenes)  1 

By  Perello  de  Segurola,  Bass  (In  Italian)  [ , ,,_..             .      ,           _, 

Prendi  1'anel  ti  dono  (Take  Now  This  Ring)  62O92      lO-mch,       .75 

By  Emilio  Perea,  Tenor  (In  Italian)  J 
I  Ah !  fosco  ciel !     ("When  Daylight's  Going) 

By  La  Scala  Chorus  (In  Italian)   62642      lO-inch,        .75 

[     Lohengrin — Coro  Nuziale                 By  La  Scala  Chcrus  (In  Italian) 

410 


(French) 

CONTES  D'HOFFMAN 


(Kahnt  <Doff'-mahn) 


TALES  OF*HbFFMAN 


(German) 


HOFFMAN'S  ERZAHLUNGEN 

(Air-tsau'-loong-en) 

OPERA  IN  THREE  ACTS 
WITH    PROLOGUE   AND    EPILOGUE 
Text  by  Jules  Barbier.     Music  by  Offenbach.      First  performance  in  Paris,   February  10, 


1881.      First  United  States  production  October  16,  1882,  at  Fifth  Avenue  Theatre, 
at    the  Manhattan  Opera  House,  New  York,  November  27,   1907. 


Revived 


THE  POET  HOFFMAN 

NlCLAUS,  his  friend 

OLYMPIA, 


Cast 


Tenor 

Soprano 


various  ladies  with  whom  Hoffman  falls  in  love ....  Sopranos 

STELLA,  ' 

DAPERTUTTO  1  ^is  °PP°nents-      (These  three  rdles  are  usually  sung 

MIRACLE  I       by  l^e  same  art'8t) Baritone 

LUTHER,  an  innkeeper Bass 

SCHLEMIL,  Giulietta's  admirer Bass 

SPALANZANI,  an  apothecary Tenor 

COUNCILLOR  CRESPEL,  father  of  Antonia Bass 


Offenbach's  delightful  and  fantastic  Optra  comique,  first  produced  at  Paris  in  1881,  has 
been  a  success  wherever  performed,  although  it  was  tabooed  in  Germany  for  many  years 
after  the  disastrous  fire  at  the  Ring  Theatre  in  Vienna,  which  occurred  during  the  presenta- 
tion of  the  opera  at  that  house.  Its  American  successes  are  familiar  to  opera- goers, 
especially  the  brilliant  and  altogether  admirable  Hammerstein  production,  which  drew  large 
and  delighted  audiences  for  several  years. 

411 


VICTOR    BOOK    OF    THE    OPERA  — TALES    OF    HOFFMAN 


This  introductory 


THE  PROLOGUE 

scene   occurs  in  Nuremberg  at   Luther's 


ern,  a  popular  student 
resort.  H  offm  a  n  , 
the  favorite  of  all, 
enters  with  his 
friend  Nicholas  and 
joins  in  the  merry- 
making. In  response 
to  calls  for  a  song, 
Hoffman  sings  the 
Ballad  ofKlein-Zach, 
and  then  volunteers 
to  relate  his  three 
love  affairs.  This 
proposal  is  greeted 
•with  enthusiasm, 
and  as  Hoffman  be- 
gins by  saying  "The 
name  of  my  first  was 
Olympia,"  the  cur- 
tain falls.  When  it 
rises,  the  first  tale  of 
Hoffman  is  seen  in 
actual  performance. 


ACT  I 

Spalanzani,  a  wealthy  man  with  a  mania  for  automatons,  has  per- 
fected a  marvelous  mechanical  figure  of  a  young  girl  which  he  calls 
Olympia,  pretending  it  is  his  daughter.  Hoffman  and  Nicholas  call  upon 
him,  and  during  Spalanzani  's  absence,  Hoffman  discovers  Olympia,  and 
falls  in  love  at  sight.  Unable  to  take  his  eyes  from  the  doll-like  per- 
fection of  the  figure,  he  expresses  his  infatuation  in  a  beautiful  air. 

C'est  elle  ('Tis  She  !) 

By  Charles  Dalmores,  Tenor  (InFrench)  87O89     10-inch,  $2.OO 
Dalmores  makes  a  great  success  in  the  part  of  Hoffman.     This  role 
calls  for  a  handsome  appearance,  a  gallant  bearing,  and  enduring  vocal 
wers,  and  this  tenor  fills  these  requirements  admirably.     He  sings  this 
utiful  air  with  graceful  fluency  and  much  warmth  of  tone. 

Nicholas  tries  in  vain  to  prevent  his  friend 
from  making  a  fool  of  himself,  but  Hoffman, 
owing  to  the  magic  glasses  Spalanzani  has  in- 
duced him  to  wear,  sees  only  a  lovely  -woman 
instead  of  an  automaton  ;  but  is  undeceived 
when  he  dances  with  the  figure  and  she  falls 
to  pieces  before  his  astonished  eyes. 

ACT  II 


po 
bea 


DALMORES    AS     HOFFMAN 


This  adventure  concerns  the  Lady  Giulietta, 
who  resides  in  Venice.  Among  her  many 
friends  are  Hermann  and  Nathaniel,  and  the 
latter,  fearing  the  power  of  the  lovely  coquette,  tries  to  get 
Hermann  away,  but  he  insists  that  he  is  proof  against  her  fascina- 
tions. Dapertutto,  the  real  lover  of  the  lady,  hearing  this  boast, 
induces  Qiulietta  to  try  her  arts  on  the  young  man.  She  suc- 
ceeds, and  Hoffman,  madly  in  love,  challenges  Qiulietta 's  protector, 
Schlemil,  and  kills  him  in  a  duel.  Hoffman  rushes  back  to  his 
charmer's  residence  only  to  find  that  she  has  fled  with  her  chosen 
admirer. 

This  second  tale  introduces  that   lovely  gem,  the  Barcarolle, 
with  its  languorous,  fascinating  rhythm  and  charming  melody. 

412 


VICTOR    BOOK    OF    THE    OPERA  — TALES    OF    HOFFMAN 


Barcarolle— Belle  Nuit  (Oh,  Night  of  Love) 

By  Geraldine  Farrar  and  Antonio  Scotti           (In  Italian)  875O2  10-inch,  $3.OO 

By  Lucy  Marsh  and  Marguerite  Dunlap        (In  English)  60O96  lO-inch,        .75 

By  Mr.  and  Mrs.  Wheeler  (Double-Faced—See  p.  414)  (English)  1 682  7  1 0-inch,        .75 

By  the  Victor  Orchestra,  -with  duet  for  two  violins  5333  lO-inch,        .60 

By  the  Vienna  Quartet  5754  lO-inch,        .60 

This  popular   Offenbach   number,  which   is   given  as   a  duet  in  the  Venetian  scene  and 

afterwards  as  an  instrumental  intermezzo,  is  one  of  the  best  known  examples  of  the  barcarolle. 

As  the  name   implies,  it  was  originally   a  song  or  chant  used   by  the 

&9i^  Venetian  gondoliers. 

1*2 


and   its  dreamy  melancholy  suggests   the  calm  of    a  perfect  moonlight 
night. 

O  Night  of  Love 


Beauteous    night,    O    night    of    love, 
Smile   thou   on   our   enchantment; 
Radiant    night,    with    stars   above, 
O  beauteous  night  of  love! 
Fleeting  time  doth  ne'er   return 
But   bears  on   wings   our  dreaming, 


For    time    doth    ne'er   return. 
Sweet  zephyrs   aglow, 
Shed  on  us  thy  caresses  — 
Night   of  love.   O   night   of  lov 
From  Dluou  K.I  it  inn     Copy  ' 


In  this  act  is  also  the  air  sung  by  Dapertutto  to  the  sparkling  dia- 
mond, which  he  says  never  yet  failed  to  tempt  a  woman. 

Air  de  Dapertutto  ( Dapertutto' s  Air) 

By  Marcel  Journet,  Bass      (In  French)      741O3      12-inch,  $1.5O 
Journet    delivers   this  song  of  the    swaggering,   garrulous  Venetian 
bravo  with  much  spirit. 

413 


VICTOR     BOOK    OF    THE     OPERA  — TALES     OF     HOFFMAN 


ACT  HI 

The  third  adventure  of  Hoffman  introduces  us  to  an  humble 
German  home  where  Antonia,  a  young  singer,  has  become  the  victim 
of  consumption.  She  is  forbidden  to  sing  by  her  father,  but  a 
Dr.  Miracle,  who  is  the  secret  enemy  of  the  family,  Svengali-like, 
urges  her  on,  and  Hoffman,  who  knows  nothing  of  the  poor  girl's 
affliction,  sees  her  literally  sing  herself  to  death,  and  she  dies  in  his 
arms. 

Romance — Elle  a  fui  (The  Dove  Has  Flown) 

By  Frances  Alda,  Soprano 

(In  French)      88399      12-inch,  $3.OO 

The  pathetic  air  sung  by  the  unfortunate  young  singer,  jJntonia, 
•whose  life  is  finally  sacrificed  to  her  art. 

THE  EPILOGUE 

The  epilogue  shows  again  the  tavern  of  the  prologue,  where 
Hoffman  is  apparently  just  concluding  his  third  tale.  Having  tried 
three  kinds  of  love — the  love  that  is  inspired  by  mere  beauty,  the 
sensuous  love,  and  the  affection  that  springs  from  the  heart — he  says 
he  has  learned  his  lesson,  and  will  henceforth  devote  himself  to  art, 
the  only  mistress  who  will  prove  faithful.  He  bids  farewell  to  another 
of  his  flames,  Stella,  an  opera  singer,  and  as  the  curtain  falls  is  left 
alone,  dreaming,  while  the  Muse  appears  and  bids  him  follow  her. 


MISCELLANEOUS  HOFFMAN  RECORDS 
Gems  from  Tales  of  Hoffman 

Chorus,  "Our  Good  Host" — Solo,  "Song  of  Olympia" — Chorus,  "Hear 
Him  His  Tales  Disclose  "—Solo,  "Ah,  Now  Within  My  Heart  "—Barcarolle, 
"Oh,  Night  Divine"— Chorus,  "See  She  Dances"— Finale,  "Fill  Up  Our  Glasses" 
By  Victor  Light  Opera  Company  (In  English)  31859  12-inch,  $1.OO 

/Gems  from  Tales  of  Hoffman  Victor  Opera  Company l 

\     Gems  from  Mignon  By  Victor  Light  Opera  Company) 

Contes  d'Hoffman  Selection  By  Victor  Concert  Orch.     3182O 

/Barcarolle— O,  Night  of  Love  By  Mr.  and  Mrs.  Wheeler) .,«,,_     ,  n  •     , 

\     Fatinitza  Selection     (oon  Suppe)  By  Pryor's  Bam//16827      10-mch- 


12-inch,     1.25 
12-inch,     l.OO 

.75 


TANNHAUSER    AND    VENUS 


TANNHAUSER 


(  Tahn'-hou-zer) 

ROMANTIC   OPERA   IN   THREE   ACTS 

Words  and  music  by  Richard  Wagner.  First  presented  at  the  Royal  Opera,  Dresden, 
October  20,  1845;  at  the  Grand  Opera,  Paris,  March  13,  1861.  First  London  production  at 
Covent  Garden,  in  Italian,  May  6,  1876.  First  performance  in  English  took  place  at  Her 
Majesty's  Theatre,  February  14,  1882.  First  New  York  production  April  4,  1859. 


Characters 
HERMANN,  Landgrave  of  Thuringia 

TANNHAUSER, 

WOLFRAM  VON  ESCHENBACH, 


WALTHER  VON  DER  VOGELWEIDE,  I ...       ,  v  .  , 

DI-TC-D^I  c  ^Minstrel  Knights 


BITEROLF, 

HEINRICH  DER  SCHREIBER, 

REINMAR  VON  ZWETER, 

ELIZABETH,  Niece  of  the  Landgra 

VENUS 

A   Young   Shepherd 

Four  Noble  Pages 


....Bass 
Tenor 
Baritone 
Tenor 
Bass 
Tenor 
Bass 

.Soprano 
. Soprano 
. Soprano 
.Soprano  and  Alto 


Chorus  of  Thuringian  Nobles  and  Knights,  Ladies,  Elder  and  Younger 
Pilgrims,  and  Sirens,  Naiads,  Nymphs  and  Bacchantes. 

Scene  and  Period :    Vicinity  of  Eisenach  ;   beginning  of  the  thirteenth  century. 
4ir. 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 


THE  STORY 

There  are  a  great  many  people  who  like  to  go  to  the 
opera,  but  who  do  not  care  for  Wagner's  Ring  Operas,  with 
their  Teutonic  myths  and  legends,  and  their  long  and  some- 
times undeniably  tedious  scenes.  But  Tannhduser,  with  its 
poetry,  romance  and  passion,  and  above  all  its  characters, 
•who  are  real  human  beings  and  not  mysterious  mythological 
gods,  goddesses  and  heroes,  appeals  strongly  to  these  opera- 
goers. 

To  show  the  wonderful  vogue  of  this  work,  it  is  esti- 
mated that  more  than  one  thousand  performances  of  the 
opera  take  place  annually  throughout  the  world. 

The  story  is  quite  familiar,  but  the  chief  events  will  be 
noted  here  in  brief.  It  tells  of  conflict  between  two  kinds 
of  love:  true  love  of  the  highest  human  kind  as  distin- 
guished from  mere  sensuous  passion;  and  relates  how  the 
higher  and  purer  love  triumphed  in  the  end. 

Tannhduser,  a  knight  and  minstrel,  in  an  evil  moment, 
succumbs  to  the  wiles  of  Venus  and  dwells  for  a  year  in 
the  Venusberg.  Tiring  of  these  monotonous  delights,  he 
leaves  the  goddess  and  returns  to  his  home,  where  he 


!*_J 

FIRST    PROGRAM    OF    TANNHAUSER,   1845 


armly  received  and  told  that  the  fair  Elizabeth,  niece  of 
the  Landgrave,  still  mourns  for  him.  He  is  urged  to  compete  in  the  Tournament  of  Song 
not  far  distant,  the  prize  being  the  hand  of  Elizabeth.  The  theme  of  the  contest  is  The  Nature 
of  Love,  and  when  Tannhduser  's  turn  arrives  the  evil  influence  of  the  Venusberg  is  appa- 
rent when  he  delivers  a  wild  and  profane  eulogy  of  passion.  Outraged  by  this  insult  the 
minstrels  draw  their  swords  to  slay  him.  Coming  to  his  senses,  too  late,  he  repents,  and 
when  a  company  of  Pilgrims  pass  on  their  way  to  Rome,  he  joins  them  to  seek  pardon  for  his 
sin.  In  the  last  act  we  see  Elizabeth,  weary  and  worn,  supported  by  the  noble  Wolfram,  who 


AT    THE     METROPOLITAN 

416 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 


also   loves   her,   watching   for    the  Pilgrims  to  return,  but   Tannhauser  is  not  among   them. 
Elizabeth  is  overcome  with  disappointment  and  feebly  returns  to  her  home. 

Tannhauser  now  appears,  in  a  wretched  plight,  on  his  •way  to  re-enter  the  Hill  of  Venus. 
He  tells  Wolfram  that  he  appealed  to  the  Pope  for  pardon,  but  was  told  that  his  redemption 
was  as  impossible  as  that  the  Pope's  staff  should  put  forth  leaves.  Wolfram 's  remonstrances 
are  in  vain,  and  Tannhauser  is  about  to  invoke  the  goddess,  when  a  chant  is  heard  and  the 
Pilgrims  appear,  announcing  that  the  Pope's  staff  had  blossomed  as  a  sign  that  the  sinner 
was  forgiven.  Tannhauser  kneels  in  prayer  as  the  mourners  pass  with  the  body  of  Elizabeth, 
who,  overcome  by  her  bitter  disappointment,  had  suddenly  passed  away. 


The  Overture 


Overture— Part  I 

By  Arthur  Pryor's  Band 


31382      12-inch,     $1.OO 


31383      12-inch,       1.00 


Overture — Part  II 

By  Arthur  Pryor's  Band 

This  overture,  with  its  sombre  opening  chorus,  its  weird  music  of  the  Venus  Mount, 
and  the  final  return  of  the  penitents,  when  the  chant  is  accompanied  by  a  striking  variation 
for  clarinets,  is  one  of  the  greatest  works  of  Wagner.  It  has  become  quite  familiar  by  its 
frequent  repetitions  in  orchestra  and  military  band  concerts,  and  no  concert  piece  is  more 
admired. 

The  overture  depicts  the  struggle  between  good  and  evil,  and  as  Liszt  has  said,  is  a 
poem  on  the  same  subject  as  the  opera  and  equally  comprehensive. 

The  sombre  religious  motive  appears  first: 


beginning  softly  and  gradually  swelling  to  a  fortissimo.     Then,  as  it  is  dying  away,  it  is  sud- 
denly interrupted  by  the  Venusberg  motive : 


with  its  rising  tide  of  sensual  sounds.  This  motive  continues  with  terrible  persistence,  lead- 
ing into  Tannhauser  's  hymn  to  Venus,  after  which  the  enchanting  Venus  motive  returns  and 
is  developed  with  various  changes.  The  tide  now  changes  again  and  the  majestic  pilgrim 
theme  predominates,  finally  reaching  a  climax  in  the  final  hymn  of  triumph. 

ACT   I 

SCENE  I—  The  Hill  of  Venus  —  Nymphs,  Sirens,  Naiads  and  Bacchantes  dancing  or  reclining  on 

mossy  banks 

The  rising  of  the  curtain  discloses  V  enus  reclining  on  a  couch  gazing  tenderly  at 
Tannhauser,  who  is  in  a  dejected  attitude.  The  goddess  asks  him  why  he  is  melancholy, 
and  he  tells  her  he  is  weary  of  pleasure  and  would  see  the  earth  again.  She  reproves  him 
fondly  : 

Till  by  me  thou  wert  consoled? 

My  minstrel,  come,  let  not  thy  harp  be  silent; 

Recall    the    rapture  —  sing    the    praise    and    bliss 

of   love 
In   tones   that   won   fo 


VENUS: 

What!    art    thou    wav'ring?      Why    these    vain 

lamentings? 

Canst  thou  so  soon  weary  Of  the  blisses 
That  love  immortal  hath  cast  'round  thee? 
Can  it  be — dost  thou  now  repent  that  thou  rt 

HasV  thou   soon    forgotten   how   thy  heart   was 
mourning, 


Of 


thi 


thee   love  s  self   to   be 
sing    only,    for   her   treasures   are   all 


417 


VICTOR    BOOK    OF    THE     OPERA— WAGNER'S    TANNHAUSER 

He  rouses  himself  and  sings  the  Praise  to  Venus,  but  it  is  a  forced  effort,  and  throwing 
down  his  harp  he  exclaims: 


TANNHAUSER: 

For  earth  I'm  yearning, 

In   thy   soft  chains  with   shame   I'm   burning, 

'Tis  freedom   I   must  win  or  die — 

For  freedom  I  can  all  defy; 


To   strife   or   glory   forth   I   go, 

Come  life  or  death,  come  joy  or  woe 

No   more   in   bondage   will    I    sigh: 

Oh   queen,   beloved  goddess,   let  me   fly ! 


Venus  in  a  rage,  then  tells  him  to  go  if  he  will,  but  predicts  his  return  and  disappears 
with  all  her  train,  while  the  scene  instantly  changes. 


SCENE  II— A  Valley 

Tannhauser  suddenly  finds  himself  in  a  beautiful  valley  near  the  Wartburg.  On  the 
peaceful  scene  there  break  in  the  notes  of  a  shepherd's  pipe,  and  tinkling  sheep  bells 
sound  from  the  heights.  A  company  of  Pilgrims  pass,  singing  their  chant,  while  the  little 
shepherd  pauses  in  his  lay,  and  begs  them  utter  a  prayer  for  him  in  Rome.  This  scene  is 
effectively  given  by  Mme.  Runge  and  the  Nebe  Chorus,  while  additional  records  of  the 
Pilgrims'  Chorus  are  provided  by  Pryor's  Band  and  the  Brass  Quartet. 

Pilgrims'  Chorus 

By  Gertrud  Runge,  Soprano,  and  "Nebe  Qt       (German)  68352  12-inch,  $1.25 

By  Pryor's  Band  3116O  12-inch,  l.OO 

By  Pryor's  Band     (Double-faced—See  page  423)  16537  10-inch,  .75 

By  Victor  Brass  Quartet     (Double-faced— See  page  423}  17133  10- inch,  .75 


TANNHAI-SER    (kneeling  in   ecstasy): 
Almighty,   praise  to  Thee! 
Great   are  the   marvels   of  Thy   mercy! 
Oh,   see  my   heart  by  guilt  oppress'd — 


I  faint.  I  sink  beneath  the  burden! 
Nor  will    I   cease,   nor  will  I   rest, 
Till   heav'nly  mercy  grant  me  pardon! 


The  Landgrave  and  several  minstrels  now  enter,  and  seeing  a  knight  kneeling  in  prayer, 
accost  him.  They  are  amazed  and  delighted  to  see  that  it  is  the  long  lost  Henry,  their 
brother  knight.  They  question  him,  but  he  gives  evasive  replies.  The  Knights  urge  him 
to  return  with  them,  and  speak  the  name  of  Elizabeth, 
Wolfram  telling  him  that  he  is  beloved  by  the  Landgrave's 
fair  niece. 

WOLFRAM  : 

When  for  the  palm  in  song  we  were  contending, 
And  oft  thy  conq'ring  strain  the  wreath  had  won, 
Our   songs  anon   thy   victory,    suspending, 
One  glorious  prize  was  won  by  thee   alone! 
Was't  magic,  or  a  now'r  divine, 
That  wrought   thro    thee   the   wondrous  sign, 
Thy   harp  and  song  in  blissful   hour 
Enthrall <d    of    royal    maids    the    flower! 
For  ah,   when   thou  in  scorn   hadst  left  us, 
closed  to  joy  and  song, 


, 
Her   heart 


±ier    neart   was  cioseo.  to  joy  ana  song, 
Of  her  sweet  presence  she  bereft  us, 
For  thee  in  vain  she  wearied  long. 
Oh!    minstrel   bold,    return   and   rest  thee, 
Once  more  awake  the   joyous   strain! 
Cast  off  the  burden   that  oppress'd  thee. 
And  her  fair  star  will  shine  again! 

Tannhauser  joyfully  consents  to  return  and  promises  to 
compete  in  the  forthcoming  Tournament  of  Song,  the  prize 
for  which  is  to  be  the  hand  of  Elizabeth.  The  remainder  of 
the  hunting  train  of  the  Landgrave  now  arrives,  and  as 
Tannhauser  is  being  greeted  by  his  friends,  the  curtain  falls. 


ACT  II 

SCENE—  The  Great  Hall  in  the  Wartburg 
Elizabeth  enters,   full  of  joy  over  the  return  of   Tannhauser,  and  greets  the    He 


noble  oong. 


418 


VICTOR    BOOK    OF    THE     OPERA— WAGNER'S    TANNHAUSER 


Dich,  theure  Halle  (Hail,  Hall  of  Song) 

By  Johanna  Gadski    (German)     88O57     12-inch,  $3.OO 
By  Louise  Voigt         (German)     31849      12-inch,     l.OO 

ELIZABETH: 

Oh,  hall  of  song,  I  give  thee  greeting! 

All   hail  to  thee,   thou  hallowed  place! 

'Twas  here  that  dream  so  sweet  and  fleeting, 

Upon  my  heart  his  song  did  trace. 

I'.ut  since  by  him  forsaken 

A   desert   thou   dost  seem — 

Thy  echoes  only  waken 

Remembrance   of   a   dream. 

Rut  now  the   flame  of  hope  is  lighted, 

Thy   vault   shall   ring  with  glorious  war; 

For   he   whose   strains  my   soul   delighted 

No   longer  roams  afar! 

Mme.  Gadski  sings  this  glorious  air  in  a  surpassingly 
beautiful  fashion,  -while  a  fine  rendition  is  given  by  Miss  Voigt. 

Tannhauser  enters  and  kneels  at  the  feet  of  Elizabeth,  who  in 
blushing  confusion  bids  him  rise. 

Verzeiht  wenn  ich  nicht  weiss  (Forgive,  I 
Scarcely  Know  Wliat  I  am  Saying) 

By  Johanna  Gadski      (German)      88442      12-in..  $3.OO 


With  that  frankness  which  seems  characteristic  of  Wagner's 

heroines,  the  young  girl  makes  no  secret  of  her  partiality  for  the  Knight,  and  a  long  scene 
between  the  lovers  ensues,  interrupted  by  the  entrance  of  the  Landgrave,  who  greets 
Tannhauser  cordially  and  -welcomes  him  to  the  contest. 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    TANNHAUSER 

The  Knights  and  Ladies  now  assemble  to  the   strains   of   the   noble  Fest  March,  given 
here  in  splendid  fashion  by  Sousa's  Band. 

Fest  March 

By  Sousa's  Band  31423      12-inch.     $1.OO 

By  Sousa's  Band     (Double-faced— See  page  423)  16514     10-inch,         .75 

When  the  company  is  seated,  the  Landgrave  rises  and  makes  the  address  of  welcome. 

LANDGRAVE: 

Minstrels  assembled  here,   I   give  you  greeting,  To  what  we  owe  his  presence  here  amongst  us 

Full    oft    within    these    walls    your    lays    have  In      strange,      mysterious      darkness      still      is 

inded;  wrapp'd; 


In   veiled   wisdom,   or   in   mirthful   measures  The   magic  power  of   song  shall   now   reveal 

They    ever    gladdened    every    list'ning    heart.  Therefore    hear    now    the    song    you    all    sh 

And    though    the    sword    of    strife    was    loosed  sing. 


in   battle,  Say,    what    is    love?    by    what    signs    shall    we 

Drawn  to  maintain  our  German  land  secure,  know   it? 

Unto   the   harp  be  equal   praise   and  glory!  This    be    your    theme.       Who     so    most    nobly 

The  tender  graces  of   the   homestead,  this  can   tell, 

The  faith  in  what  is  good  and  gracious-^-  Him  shall  the  Princess  give  the  prize. 

For  these  you  fought  with  word  and  voice;  He  may  demand  the  fairest  guerdon: 

The  meed  of  praise  for  this  is  due.  I   vouch   that   whatsoe'er   he  ask  is   granted. 

Your      strains      inspiring,      then,      once      more  Up,    then,    arouse    ye — sing,    oh,    gallant    min- 

attune,  strels! 

Now    that    the    gallant    minstrel    hath    returned,  Attune   your   harps  to  love — great  is  the   prize. 

Who  from  our  land  too  long  was  parted.  Ere  ye  begin,  let  all  receive  our  thanks! 

Four  pages,  who  have  drawn  lots  from  a  gold  cup,  now  announce  that  \Volfram  is  to 
begin  the  contest.  He  rises  and  delivers  his  Eulogy  of  Looe. 

"Wolfram's  Ansprache  (\^olfram's  Eulogy  of  Love) 

By  Otto  Goritz,  Baritone  (In  German)      74215      12-inch,     $1.50 
The  singer  gives  his  conception  of  love,  which  he  describes  as  pure  and  ethereal,  com- 
paring it  to  a  crystal  spring. 
WOLFRAM  : 

Gazing  around   upon   this   fair   assembly,  My   heart   was   sunk  in   prayerful   holy   dreams. 

How   doth   the   heart  expand   to  see   the   scene!  And  lo!  the  source  of  all  delights  and  power 

These  gallant  heroes,  valiant,  wise  and  gentle —  Was   then   unto   my   listening   soul    revealed, 

A  stately   forest  soaring  fresh  and  green.  From    whose    unfathomed    depths    all    joy    doth 

And    blooming   by    their    side    in    sweet   perfec-  shower — 

tion,  The   tender  balm   in   which   all   grief   is   healed. 

I  see  a  wreath  of  dames  and  maidens  fair;  Oh,   may   I    never   dim   its  limpid   waters. 

Their  blended  glories  dazzle  the  beholder—  Or  rashly  trouble  them   with   wild  desires! 

My  song  is  mute  before  this  vision  rare!  I   worship   thee   kneeling,   with   soul   devoted: 

I  raised  my  eyes  to  one  whajBe  starry  splendor  To  live  and  die   for  thee  my  heart  aspires! 

In    this    bright    heaven    with    mild    effulgence  (After  a  pause.) 

beams,  I   know  not  if  these  feeble  words  can   render 

And  gazing  on   that  pure  and  tender   radiance,  What  I  have  felt  of  love  both  true  and  tender. 

Tannhduser,  who  has  shown  signs  of  impatience  during  this  recital,  now  jumps  to  his 
feet,  flushed  and  eager,  while  the  company  looks  at  him  in  astonishment. 

TANNHAUSER:  (Ardently.) 

Oh,   minstrel,   if   'tis  thus   thou   singest.  But  what  can  yield  to  soft  caresses, 

Thou   ne'er  hast  known  or  tasted  love!  And,  fram'd  with  me  in  mortal  mould 

If  thou  desire  an   unapproached  perfection —  Gentle   persuasion's   rule   confesses, 

Behold   the   stars — adore   their   bright   reflec-  And   in   these  arms   I   may   unfold — 

tion —  This  is  for  joy,  and  knows  no  measure, 

They   were  not  made  to  be  belov'd:  For  love's  fulfillment  is  its  pleasure! 

At  this  definition  of  love,  strange  for  such  an  occasion,  Biterolf,  a  hotheaded  Knight, 
rises  and  challenges  Tannhduser,  who  excitedly  retorts  that  such  a  grim  wolf  as  Biterolf  can 
know  nothing  of  the  delights  of  love!  He  then,  in  wild  exultation,  sings  his  blasphemous 
Praise  of  Venus,  saying 

TANNHAUSER: 

Dull    mortals,    who    of    love    have    never    tasted 
Go  forth!      Venus  alone  can   show  ye   love! 

At  this  the  Knights  rush  toward  him  with  drawn  swords,  exclaiming : 

KNIGHTS: 

Ye  all  have  heard,  In    Venus'    dark   abode    that   dwell, 

His  mouth  hath  confess'd  Disown    him — curse    him — banish   him! 

That  he  hath  shared  the  joys  of  Hell,  Or  let  His  traitor  life-blood  flow! 

420 


VICTOR    BOOK    OF    THE    OPERA— 'WAGNER'S    TANNHAUSER 

Elizabeth  throws  herself  in  front  of  the  unhappy  Tannhauser,  who  stands  as  if  in  a 
trance.  She  begs  for  his  life  in  a  touching  plea. 

Zuruck,  von  ihm !     (Away  from  Him !) 

By  Johanna  Gadski.  Soprano  (In  German)     88443      12-inch,     *3.OO 

ELIZABETH: 

Away    from   him!      "Pis   not   for   you   to   judge         Let    Heav'n    declare    through    me    what    is    its 

Shame  on  you!     He  is  one  against  you  all!  The  erring  mortal,   who   hath   fallen 

I   pray   for  him — spare   him,   oh,   I   implore  ye!  Within  the  weary  toils  of  sin, 

Let  not  the  hope  of  pardon  be  denied!  How  dare  ye  close  the  heav'nly  portal! 

To  life  renew'd  his  sinking  faith   restore  ye.  On  me,  a   maiden  young  and  tender, 

Think    that    for    him,    too,    once    the    Saviour  Yon  knight  hath  struck  a  cruel  blow — 

died!  I,   who  so  deeply,  truly  loved  him, 

Oh,   let  a  spotless  maid  your   grace   implore!  Am  hurl'd  in  dark  abyss  of  woe! 

The  Landgrave  pronounces  judgment  and  declares  Tannhauser  banished,  suggesting  that 
he  join  the  band  of  Pilgrims  about  to  start  for  Rome.  In  the  distance  is  heard  the  Pilgrims' 
chant,  and  the  strains  seem  to  bring  the  erring  knight  to  his  senses.  He  cries:  "  To  Rome ! " 
and  dashes  from  the  hall. 

ACT   III 

SCENE—  The  Valley  beneath  the  Warburg— at  one  side  a  Shrine 

As  the  curtain  rises  Elizabeth  is  seen  kneeling  at  the  shrine  in  prayer.  Wolfram  comes 
down  by  the  path,  and  observing  her,  sadly  notices  her  changed  appearance,  and  muses 
on  his  own  hopeless  love.  The  song  of  the  Pilgrims  is  heard  in  the  distance,  and 
Elizabeth  eagerly  rises  and  scans  the  approaching  band.  Tannhauser  is  not  among  them,  and 
the  despairing  maiden  kneels  again  at  the  shrine,  and  offers  her  prayer  to  the  Virgin, 

Elizabeth's  Gebet     (Elizabeth's  Prayer) 

By  Geraldine  Farrar,  Soprano  (In  German)        88O53      12-inch.     $3.0O 

By  Elizabeth  Wheeler.  Soprano  (In  English)     *35O96     12-inch,       1.25 

This  prayer  of  the  sainted  Elizabeth  is 
one  of  the  most  beautiful  and  touching  of 
the  master's  compositions.  "He  will  return 
no  more!"  cries  the  unhappy  girl,  and  falls 
on  her  knees. 

ELIZABETH: 

Oh,  blessed  Virgin,  hear  my  prayer! 
Thou    star   of   glory,    look   on   me ! 
Here  in  the  dust  I   bend  before  thee 
Now  from  this  earth,  oh,  set  me  free! 
Let  me,  a  maiden   pure  and  white, 
Enter  into  thy  kingdom  bright! 
If  vain   desires  and  earthly   longing 
Have  turn'd  my  heart  from  thee  away, 
The  sinful   hopes  within   me   thronging, 
Before  thy  blessed  feet  I  lay; 
I'll   wrestle   with   the  love   I   cherish'd. 
Until  in   death  its  flame  hath  perish'd. 
If  of  my  sin  thou  will  not  shrive  me, 
Yet  in  this  hour,  oh  grant  thy  aid! 
Till  thy  eternal  peace  thou  Rive  me, 
I  vow  to  live  and  die  thy  maid. 
And  on  thy  bounty  I  will  call. 
That  heav'nly  grace  on  him  may  fall! 

She  remains  for  a  long  time  in  prayerful 
rapture;  as  she  slowly  rises  she  glances  at 
Wolfram,  who  is  approaching.  She  bids  him 
by  gesture  not  to  speak  to  her,  but  he  asks 
that  he  may  escort  her. 

Elizabeth  again  expresses  to  him  by 
gesture  that  she  thanks  him  from  her  heart 
for  his  faithful  love;  her  way,  however, 
leads  to  Heaven,  where  she  has  a  high  purpose  to  fulfill;  she  wishes  him  not  to  accompany 
or  follow  her  now.  She  slowly  ascends  the  height  and  disappears  gradually  from  view. 


VICTOR    BOOK    OF    THE     OPERA— WAGNER'S    TANNHAUSER 


Wolfram  gazes  sadly  after  her  for  a  long  time,  then  seats  himself  at  the  foot  of  the  hill, 
begins  to  play  upon  his  harp,  and  finally  sings  the  noble  and  beautiful  ode  to  the  evening  star. 


O  du  mein  holder  Abendstern  (Song  to  the  Evening  Star) 


By  Emilio  de  Gogorza,  Baritone 

By  Marcel  Journet,  Bass 

By  Reinald  "Werrenrath,  Baritone 

By  Reinald  Werrenrath,  Baritone 

By  Alan  Turner,  Baritone 

By  Victor  Sorlin,  'Cellist 


(In  German) 
(In  German) 
(In  German) 
(In  German) 
(In  English)  *  17446 
*16813 


88154 

74006 

'=35160 

31462 


12-inch, 
12-inch, 
12-inch, 
12-inch. 
lO-inch, 
10-inch, 


$3.00 
1.5O 
1.25 
1.00 

.75 
.75 


O  douce  etoile  (Song  to  the  Evening  Star) 


By  Maurice  Renaud,  Baritone 


WOLFRAM: 

Like    Death's    dark 

extendeth, 
He 


(In  French)      91O67      lO-inch,     $2.OO 

idow,    Night    her    gloom 


bendeth; 


The  soul  that  longs  to  tread  yon  path  of  light, 
s  the  gate  of  Fear 


and  Night, 
the  fairest, 
space  thou 


Yet  dreads  to  pas 

I   look  on  thee,  oh,  star  in  Hi 

Thy    gentle    beam    thro'    trackless 

bearest; 

The   hour   of  darkness  is  by  thee   made  bright, 
Thou   lead'st   us   upward   by   pure    light. 
O   ev'ning   star;    thy   holy   light 
Was    ne'er    so    welcome    to    my    sight, 
With  glowing  heart,   that   ne'er  disclos'd; 
Greet  her  when  she  in  thy  light  reposed; 
When   parting   from   this  vale   a   vision, 
She  rises  to  an  angel's  mission. 
(He     continues     to    play,     his    eyes   -raised    to 

Heaven.) 


Tannhauser  now  appears,  wearing  a 
ragged  Pilgrim's  dress,  his  face  pale  and 
drawn,  and  supporting  himself  with  diffi- 
culty by  means  of  a  staff.  Wolfram  greets 
him  with  emotion  and  learns  that  he  is 
still  unforgiven  and  has  resolved  to  re-enter 
the  Venusberg. 

The  unhappy  Tannhauser  tells  of  the 
Pope  's  refusal  of  a  pardon  : 


s  imploring, 

adoring. 

ry    bells    were 

divine     was 
thousand 


TANNHAUSER: 

Rome   I  gained  at  last;  with  tea 

I  knelt  before  the  rood  in  faith 

When    daylight    broke,    the    silv 
pealing; 

Through     vaulted     roof     a     song 
stealing; 

A    cry     of    joy     breaks    forth     from 
voices — 

The  hope   of  pardon  ev'ry   heart   rejoices. 

I    told    what    mad    desires    my    soul    had    dark- 
ened, 

By  sinful   earthly  pleasure  long  enslav'd — 

To   me   it   seem'd  that   he   in   mercy   harken'd — 

Then  he   who  thus   I   prayed   replied: 
"If   thou   hast   shared   the   joys   of   Hell 
Jf    thou    unholy    flames   hast    nurs'd 
That  in  the  hill  of  Venus  dwell, 
Thou  art   forever  more  accurs'd! 
And  as  this  barren   staff  I  hold 
Ne'er  will  put  forth  a  flower  or  leaf, 
Thus   shall  thou   never   more  behold 
Salvation    or    thy   sin's   relief!" 


*  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  TANNHA'USER  RECORDS,  page  423. 

422 


VICTOR     BOOK     OF     THE     OPERA— WAGNER'S   TANNHAUSER 


Wolfram,  in  horror,  urges  him  to  remain,  but  Tannhauser  refuses  until  Wolfram  mentions 
the  name  of  Elizabeth.  The  unhappy  man,  in  sudden  repentance,  sinks  to  his  knees,  while 
in  the  distance  is  seen  a  company  of  minstrels  bearing  the  body  of  Elizabeth,  who  has  suddenly 
passed  away.  As  the  procession  approaches,  a  company  of  Pilgrims  enter  and  announce 
that  the  staff  of  the  Pope  had  put  forth  green  leaves  as  a  sign  that  Tannhauser  was  pardoned. 

The  Minstrel,  supported  by  Wolfram,  gazes  on  the  saintly  face  of  the  dead  Elizabeth, 
then  expires,  while  the  Pilgrims  and  minstrels  with  great  emotion  exclaim : 

thy    bondage    hath 


The     Lord     Himself 

riven  — 
Go,  enter  in  with  the  blest  in  Hi 


(Curtain) 


DOUBLE-FACED  AND  MISCELLANEOUS  TANNHAUSER  RECORDS 


J Elizabeth's  Prayer  By  Elizabeth  Wheeler,  Sopranol, 

\      A  Night  in  Venice  Mr.  and  Mrs.   Wheelerf 

Lied  des  Hirtenknaben  und  Chor  der  Pilger  1 

(In  German)      Runge  and  Nebe  Qt ' 

Lied  des  Hirtenknaben  und  Chor  der  Pilger      (Part  II) 

(In  German)     Runge  and  Nebe  QtJ 

JO  du  mein  holder  Abendstern  By  Reinald  Werrenrathl 

\      Treue  Liebe — Ach,  wie  ist  's  moglich  dann         Emit  Muench,  Tenor] 
(Overture— Part  I  By  La  Scala  Orchestra)  ,  „_„- 

» Overture— Part  II  By  La  Scala  Orchestra/ DC3 

j Selection  from  the  Opera  By  Arthur  Pryor's  Band) 

\      Madame  Butterfly  Selection,  No.  2  By  Arthur  Pryor's  Bane 

(Fest  March  By  Sousa's  Band'l . 

\      La  Marseillaise — National  Air  of  France  By  Sousa's 

iThe  Evening  Star 


_,,  .,_ 


^35331 


Last  Rose  of  Summer 
(The  Evening  Star      (In  English 
\      The  Rosary     (Nevin) 
(Pilgrims'  Chorus 
1      Lohengrin — Coro  delle  nozze 
(Pilgrims'  Chorus 


Don  Carlos—  Grand  March     (  Verdi) 


By  Victor  Sorlin,  'Cellist! .  ,  „.  , 
By  Elizabeth  Wheeler,  Soprano  flb813 
By  Alan  Turner!.  _  ,  . , 
By  Alan  Turnerf1744* 
By  Pryor's  Band)  1653r 
(In  Italian)     By  La  Scala  Chorusf 

By  VictorJBrass  Quartet \,  7^33 


By  Sousa  's  Band) 


12-inch,  $1.25 

12-inch,  1.25 

12-inch,  1.25 

12-inch,  1.25 

12-inch,  1.25 

lO-inch,  .75 

lO-inch,  75 

lO-inch,  .75 

lO-inch,  .75 

lO-inch,  .75 


THE    REDEMPTION    OF    TANNHAU! 

423 


I  FAMOUS     OPERA     HOUSES    OF    EUROPE    I 


THAIS 


(Tah-ccs) 

OPERA  IN  THREE  ACTS 

Libretto  by  Louis  Gallet,  based  on  the  novel  of  Anatole  France ;  music  by  Jules 
Massenet.  First  production  at  the  Op6ra  Comique,  Paris,  1894,  and  afterward  in  nearly 
every  capital  of  Europe.  First  American  production  November  25,  1908,  at  the  Manhattan 
Opera  House,  New  York. 

Characters 

THAIS,  actress  and  courtesan 

ATHANAEL,  a  Cenobite  monk 

NICIAS,  a  wealthy  Alexandrian 

PALEMON,  an  aged    Cenobite    monk. 
ALBINE,  an  abbess 

CROBYLE,  i  . 

slave  girls.  . 


MYRTALE, 


Soprano 

Baritone 

Tenor 

Bass 

.  Mezzo- Soprano 

Sopranos 


Monks,  Nuns,  Citizens,  Servants,  Dancers,  etc. 


Time  and  Pic 


Alexandria  and  the  Egyptian  desert ; 
early  Christian  era. 


Thais  the  Egyptian,  a  woman  of  wonderful  beauty  and  a  courtesan,  who  was  converted 
by  Pafnucio  and  led  by  him  into  the  righteous  path,  is  the  subject  of  this  lyric  opera.  The 
librettist  has  given  the  name  of  Athanael  to  Pafnucio,  who  is  a  young  and  handsome  monk 
living  with  an  assemblage  of  holy  men,  called  Cenobites,  in  the  desert  of  Thebes. 

ACT  I 
SCENE  1—  The  Camp  of  the  Cenobites  near  the  Nile 

At  the  opening  of  the  opera  Athanael  has  just  re- 
turned from  Alexandria,  haunted  by  the  story  of  the 
famous  courtesan,  Thais,  whom  he  feels  it  his  duty  to 
save.  Against  the  advice  of  the  head  Cenobite, 
Palemon,  he  calls  his  brother  monks  together  and  an- 
nounces his  intention  of  returning  to  Alexandria  to 
convert  the  courtesan  to  the  nobler  life. 

SCENE  II—  The  House  of  Nicias  at  Alexandria 
Athanael  arrives  and  is  warmly  greeted  by  Nicias, 
•who  knew  the  monk  years  before.  The  traveler  tells 
his  old  friend  he  has  come  to  the  capital  to  teach 
Thais  the  better  life,  but  Nicias  only  laughs  at  him 
and  scoffs  at  the  idea.  However,  he  has  his  slaves 
dress  the  monk  in  rich  robes,  and  when  Thais  arrives 
she  is  soon  curious  about  the  handsome  stranger, 
whose  severe  demeanor  arouses  her  interest.  The 
monk  tells  her  he  has  come  to  Alexandria  to  teach 
her  salvation  and  the  life  everlasting,  but  she  says 
she  believes  only  in  joy  and  love  and  pleasure. 
In  horror  at  the  revelry  which  is  planned  for  the 
evening,  Athanael  leaves,  declaring  he  will  see  Thais 
at  her  home  and  show  her  the  true  light. 

ACT  II 

SCENE   I— Thais'   Apartments 

The  second  act  takes  place  in  the  luxurious  home  of  Thais.  Athanael  enters,  steeling 
himself  against  the  seductive  charms  of  Thais,  and  eloquently  pleads  with  her  for  the  new 

425 


VICTOR   BOOK  OF  THE    OPERA-MASSENET'S  THAIS 


and  higher  love  and  the  life  to 
come.  Thais  is  at  first  fright- 
ened and  then  defiant,  but 
Atfianael  declares  that  she  will 
yet  repent,  and  that  he  will 
await  her  coming. 

SCENE  11— A  Street  in 

Alexandria 

The  next  scene  is  in  the 
square  at  dawn,  where  Thais 
comes  to  Athanael,  renounces 
her  life  of  pleasure,  and  tells 
him  she  will  follow  wherever 
he  leads.  He  urges  her  to  put 
a  torch  to  all  her  earthly  pos- 
sessions, and  she  permits  him 
to  set  fire  to  her  palace.  Nicias 
now  appears  with  his  joyous 
companions,  singing  and  danc- 
ing. In  the  midst  of  the  rev- 
elry they  discover  Thais  in  her 

sombre  garments,  and  becom-      '  CONVERSION  OF  TH/ 

ing  infuriated  over  her  departure,  and  the  firing  of  her  house,  threaten  to  hang  Athanael. 
Nicias,  realizing  the  seriousness  of  the  situation,  diverts  his  followers  by  scattering  gold  coins 
among  them,  and  in  the  scramble  which  follows  Thais  and  Athanael  make  their  escape. 

ACT  III 

SCENE  1— A  Desert  Oasis 

la  Act  111  the  pair  are  seen  on  their  way  to  a  convent.      Thais  is  almost  exhausted  with 
fatigue,  and  Athanael  tenderly  supports  her.     Saint  Albine  and  the  White  Sisters  come  to  meet 

them,  and  the  monk  delivers  Thais  over  to  them 
to  remain  with  them  rill  the  end  of  life.  Thais  is 
happy  with  a  great  spiritual  peace,  but  Athanael, 
who  has  grown  to  love  her  with  an  earthly  love, 
is  troubled  at  the  thought  of  parting  with  her  for- 
ever. 

SCENE  II—  The  Cenobites'  Camp 

Athanael,  returned  to  his  retreat,  no  longer 
finds  there  the  peace  of  former  days,  and  endures 
mental  torture,  continually  thinking  of  Thais.  He 
has  a  vision  in  which  she  appears  to  him  first  as 
the  courtesan  and  then  as  a  nun  dying  in  the 
convent.  Awakening  in  terror,  he  rushes  out  in 
the  darkness  and  makes  his  -way  again  to  the 
retreat  of  Thais. 

SCENE  III—  The  Concent  of  the  White  Sisters 

Athanael  arrives,  finds  Thais  ill,  and  in  a  f  renzy 
of  love  implores  her  to  return  to  the  earthly  life, 
but  Thais  has  a  vision  of  heavenly  bliss  and  is 
deaf  to  his  entreaties,  dying  with  a  glow  of  hap- 
piness on  her  face,  while  Athanael  falls  to  the 
ground  in  despair. 

No  opera  of  Mr.  Hammerstein's  producing 
made  such  a  deep  impression  on  opera-goers 
as  did  Massenet's  wonderful  and  mystic  work, 
although  its  beauties  were  almost  intangible 
and  hard  to  realize  without  many  hearings  and 


VICTOR   BOOK    OF   THE    Q  P  E  R  A— M  A  S  S  E  N  E  T'S    THAfS 

an  intimate  acquaintance  with 
the  text.  The  lovely  Medita- 
tion, however,  always  made 
an  instant  impression  on  every 
hearer  and  received  enthusi- 
astic approval,  being  played 
as  an  intermezzo  between  the 
scenes  of  the  opera.  But 
Thais  audiences  heard  no  such 
renderings  of  this  intermezzo 
as  have  been  given  here  by 
Powell,  Elman  and  Kreisler. 
Two  other  fine  records  by  Pil- 
zer  and  Rattay,  in  the  popular 
double-faced  class,  are  also 
offered.  The  great  air  from 
Act  I,  in  which  Athanael  tells 
the  Cenobites  of  his  vision  of 
life  in  the  wicked  city,  is  sung 
by  Mr.  Whitehill  with  a  noble  quality  of  voice  and  much  dramatic  force.  A  very  fine  record 
of  the  D'acqua  aspergimi,  the  duet  between  Thais  and  Athanael  in  Act  III,  by  Janni  and  Battis- 
tini,  is  also  presented. 


THAIS  RECORDS 
Meditation     (Intermezzo  Religieuse) 

By  Maud  Powell,  Violinist 
By  Fritz  Kreisler,  Violinist 
By  Mischa  Elman.  Violinist 

Voila  done  la  terrible  cite  (That 
Awful  City  I  Behold) 

By  Clarence  Whitehill.  Baritone 

(In  French)      74364   12-inch,  $1.5O 

D'acqua  aspergimi     ('With  Holy 
W^ater  Anoint  Me) 

By  "Mme.  Janni,  Soprano,  and 
Mattia  Battistini,  Baritone 

(In  Italian)     88353    12-inch,  $3.OO 


74135  12-inch,  $1.5O 
74182  12-inch,  1.5O 
74341  12- inch.  1.50 


Meditation     (Intermezzo 
Religieuse) 
By  Howard 

Rattay,  Violinist 
Lohengrin  Selection 
(  Wagner) 

By  Pryo-'s  ganJ 

Meditation     (Intermezzo 
Religieuse) 
By  Maximilian 

Pilzer.  Violinist 
Humoresque      (Dvorak) 
By  Maximilian 

Pilzer,   Violinist 


35147    12-inch.  $1.25 


35306   12-inch.     1.25 


427 


.MAS    AS    ATHANAEL 


(Italian) 

TOSCA 

(TosJ-kah) 

OPERA  IN  THREE  ACTS 

Text  by  Illica  and  Giacosa  after  Sardou's  drama.  Music  by  Giacomo  Puccini.  First 
produced  at  the  Constanzi  Theatre,  Rome,  in  January,  1900.  First  London  production  July 
12,  1900.  First  American  production  February  4,  1901,  at  the  Metropolitan,  the  cast  including 
Ternina,  Cremonini,  Scotti  and  Gilibert.  Also  produced  in  English  by  Henry  W.  Savage. 


Characters 


. Soprano 
.  .  .Tenor 
.  Baritone 


FLORIA  TOSCA,  (Floh'-ne-ah  Toa'-kah)  a  celebrated  singer 

MARIO  CAVARADOSSI,  (Mah'-ree-oh  Cm>-a-ra/>-<W-ee)  a  painter  ... 
BARON  SCARPIA,  (ScaS-pee-ah)  chief  of  the  police 

CESARE  ANGELOTTI,  <&<««*/  -av  Ahn-jei-iof-tee)  

A  SACRISTAN 

SPOLETTA,  (Spo-M-tat,)  a  police  agent 

SCIARRONE,  a  gendarme 

A  JAILOR 

Judge,  Cardinal,  Officer,  Sergeant,  Soldiers,  Police  Agents,  Ladies,  Nobles,  Citizens. 


aritone 
.  Tenor 
.  .  Bass 
.  .  Bass 


Scene  and  Period:     Rome,  June,   1800. 


The  Story 

Tosca  is  Puccini's  fifth  opera,  and  by  far  the  most  popular,  next  to  Mme.  Butterfly, 
which  probably  holds  first  place  in  the  affections  of  opera-goers.  The  opera  is  a  remarkable 
example  of  Puccini's  skill  in  adjusting  both  instrumental  and  voice  effects  to  the  sense  of 
the  story,  interpreting  both  the  characters  and  the  situations. 

The  plot  is  gloomy  and  intensely  tragic,  following  closely  the  Sardou  melodrama,  but 
is  relieved  somewhat  by  the  beauty  of  the  musical 
setting,  which  confirmed  Puccini's  place  in  the  first 
rank  of  modern  operatic  composers.  The  three  acts 
of  the  opera  are  crowded  with  sensational  events  and 
highly  dramatic  situations. 

The  work  has  neither  introduction  nor  overture. 
The  first  scene  occurs  in  the  church  of  San  Andrea, 
where  the  painter,  Mario  Caoaradossi,  is  at  work  on 
the  mural  decorations.  Here  he  has  been  accustomed 
to  meet  his  fiancee,  the  beautiful  Fiona  Tosca,  a  singer. 
While  awaiting  her,  he  contemplates  the  Magdalene 
he  is  at  work  on,  the  face  being  that  of  the  unknown 
beauty  who  had  frequently  prayed  at  the  altar. 

Suddenly  a  political  refugee,  Angelotti,  who  has 
just  escaped  from  the  castle,  appears,  recognizes  his 
friend  Caoaradossi,  and  asks  his  assistance.  The  painter 
gives  him  food  and  sends  him  to  his  (Cavaradossi' s) 
villa,  just  as  Tosca  arrives.  Her  lover's  confused  man- 
ner arouses  her  curiosity,  and  when  she  sees  the  like- 
ness on  the  easel,  she  is  jealous.  He  soothes  her,  and 
after  her  departure  hurries  out  to  guide  Angelotti,  a 
cannon  shot  from  the  castle  meanwhile  announcing 
the  escape  of  the  fugitive. 

Scarpia  and  his  police  enter  in  search  of  the  pris- 
oner, who  has  been  traced  to  the  church.  Cavaradossi 
is  suspected  as  an  accomplice,  and  Scarpia,  who  is 
secretly  in  love  with  Tosca,  plans  his  ruin,  with  a  view 
to  removing  from  his  path  a  dangerous  rival. 

428 


VICTOR  BOOK  OF  THE  OPER  A— P  UCCINI'S  TOSCA 


In  the  second  act  Scarpia,  putting  into  execution 
his  schemes,  orders  Mario's  arrest,  and  when  the 
painter  is  brought  in,  sends  for  Tosca  and  contrives 
that  she  shall  hear  the  cries  of  her  lover  as  he  is  being 
tortured  to  induce  him  to  reveal  Angelotti's  hiding  place. 
Unable  to  endure  Marios  agony,  she  tells  Scarpia  where 
the  refugee  is  concealed.  Mario  is  sent  to  prison,  and 
Scarpia  tells  Tosca  that  unless  she  looks  with  favor  on 
him,  her  lover  shall  die  within  an  hour.  To  save  his 
life  she  consents,  but  demands  that  they  be  allowed  to 
depart  in  safety  the  next  day.  A  mock  execution  is 
planned  by  Scarpia,  who  writes  out  a  pass  for  the 
lovers.  As  he  gives  it  to  Tosca,  she  stabs  him  and  runs 
to  Mario  with  the  release. 

In  Act  HI  the  mock  execution  takes  place  as  plan- 
ned, but  through  Scorpio's  treachery,  it  proves  to  be  a 
real  one,  and  Mario  is  killed.  Tosca  afterwards  throws 
herself  from  the  castle  parapet  as  they  attempt  to 
arrest  her  for  Scarpia 's  murder. 

ACT  I 

SCENE— Interior  of  the  Church  of  St.  Andrea 
Mario  Caoaradossi,  the  painter,  enters  the  church 
•where  he  has  been  at  work  on  a  Madonna.  As  he 
uncovers  the  portrait,  the  Sacristan,  who  is  assisting 
Mario,  is  surprised  to  discover  in  the  face  of  the 
painting  the  unknown  beauty  whom  he  had  noticed 
of  late  in  the  church.  Mario  smilingly  confesses  that  while  she  had  prayed  he  had  stolen 
her  likeness  for  his  Madonna.  Then  taking  out  a  miniature  of  his  betrothed,  Tosca,  he 
sings  a  lovely  air  in  which  he  compares  her  dark  beauty  with  the  fair  tresses  and  blue 
eyes  of  the  unknown  worshipper,  calling  it  "a  strange  but  harmonious  contrast." 

Recondita  armonia    (Strange  Harmony) 

By  Enrico  Caruso,  Tenor  (In  Italian)     8ZO43     10-inch.     $2.00 

His  musings  are  inter- 
rupted by  the  hurried  entrance 
of  a  man  in  prison  garb,  pant- 
ing with  fear  and  fatigue, 
whom  Mario  recognizes  as  an 
old  friend,  Angeloiti,  a  political 
prisoner.  Mario,  in  response 
to  his  friend's  appeal  for  assist- 
ance, hastily  closes  the  outer 
door,  and  conceals  Angelotti  in 
the  chapel,  just  as  Tosca' s 
voice  is  heard  impatiently  de- 
manding admittance. 

He  admits  her,  but  is 
anxious  and  ill  at  ease,  fearing 
to  intrust  even  Tosca  with  so 
dangerous  a  secret,  but  she 
notices  his  preoccupation  and 
is  somewhat  piqued  because 
he  is  not  as  attentive  as  usual. 
She  is  at  first  jealous  and  asks 
him  if  he  is  thinking  of  another 
woman  ;  but  soon  repents,  and 
in  the  charming  love  scene 
which  follows  endeavors  to 
smooth  his  brow  by  planning 
an  excursion  for  the  morrow. 


VICTOR    BOOK    OF    THE     OPER  A-P  UCCINI'S    TOSCA 


She  sings  of  the  delights  of  the  proposed  visit  to  the 
villa,  and  the  romantic  forest  where  they  will  wander  and 
forget  the  cares  and  troubles  of  their  professional  life. 

He  listens  but  seems  absent-minded,  and  she  con- 
tinues her  recital  of  the  joys  of  their  secluded  little  retreat 
among  the  hills.  Mario  says  she  is  an  enchantress,  and 
in  this  duet  they  exchange  anew  their  vows  of  love. 

Non  la  sospiri  la  nostra  casetta  (Our 
Cottage  Secluded) 

By  Ruszcowska,  Soprano;  Cunego,  Tenor 

(In  Italian)      88272      12-inch,     $3.OO 

Tosca  now  perceives  the  Madonna  and  recognizes  the 
face  as  that  of  the  Attaoanti,  sister  of  AngeloW..  Her  jeal- 
ousy revives,  and  she  declares  that  Mario  has  fallen  in  love 
with  the  blue  eyes.  Beginning  another  duet,  he  swears 
that  none  but  Tosca's  eyes  are  beautiful  to  him. 


Qual  occhio  al  mondo 
Earth) 


(No  Eyes  on 


By  Elena  Ruszcowska  and  Egidio  Cunego 

(In  Italian)      88273      12-inch,     $3.OO 

Mario  promises  to  meet  her  at  the  stage  door  that  evening,  and  she  bids  her  lover  a 
tender  farewell  and  departs. 

The  painter  hurries  to  the  chapel  and  bids  Angelotti  escape,  showing  him  the  path  to 
the  villa,  where  he  will  be  safe.  A  cannon  shot  from  the  fortress  tells  that  the  escape  of 
the  prisoner  has  been  discovered. 

He  is  no  sooner  gone  than  the  Sacristan  and  choir 
enter,  followed  soon  after  by  Scarpia  and  his  police,  who 
have  traced  Angelotti  to  the  church.  The  Attavanti's 
fan  and  Mario's  empty  basket  are  found  in  the 
chapel,  and  when  the  Sacristan  says  it  should  contain 
the  painter's  lunch,  Scarpia  suspects  Mario  of  aiding  the 
prisoner. 

Tosca  now  returns,  still  doubting  her  lover,  and 
Scarpia,  divining  the  state  of  affairs,  decides  to  add 
fuel  to  the  flame  of  jealousy.  He  approaches  her 
respectfully  and  sings  his  first  air,  Divine  Tosca. 

Tosca  Divina    (Divine  Tosca  !) 

By  Gustav  Berle-Resky,  Baritone 

(In  Italian)  *16745  lO-inch,  $O.75 
He  praises  her  noble  character  and  devout  habits. 
She  is  inattentive  and  scarcely  hears  him,  until  he 
insinuatingly  says  that  she  is  not  like  other  women 
who  come  here  to  meet  their  lovers.  She  asks  him 
what  he  means  and  Scarpia  shows  her  the  fan  which 
he  had  found  in  the  church.  Tosca  is  now  convinced 
that  Mario  has  been  deceiving  her,  and  in  a  jealous 
rage  she  leaves  the  church,  weeping. 

Te  Deum 

By  Giuseppe  Magge,  Bass,  and  La  Scala 

Chorus   (In  Italian)  *55OO8      12-inch,  $1.5O 


f  Double-Faced  Record—  For  title  of  opposite  side  see  DOUBLE-FACED  TOSCA  RECORDS,  page  434. 

430 


VICTOR    BOOK    OF    THE    O  P  E  R  A— P  U  C  C  I  N  I '  S    TOSCA 


The  act  closes  with  a  Te  Deum,  sung  in  celebration  of  the  defeat  of  Bonaparte,  and  the 

scene  at  the  fall  of  the  curtain  is  a  most   impressive  one,  the  solemn  strains  of  the  service 

sounding   through   the   church,  while   Scorpio  kneels,  apparently  in  reverence,  but  secretly 

plotting  his  diabolical  crimes. 

ACT  II 

SCENE — A  Room  in  Scorpio's  Apartments  in  the  Farnese  Palace 
When  the  curtain  rises  Scorpio  is  shown  at  his  supper,  restless  and  agitated,  awaiting  the 

report  of  his  police,   who  have  been   sent  to  arrest  Mario  and   Angelotti.     Hearing    Tosca's 

voice  in  the  apartments  of  the  Queen  below,  where  she  is  singing  at  a  soiree,  he  sends  her  a 

note  saying  he  has  news  of 
her  lover.  He  is  certain  she 
•will  come  for  Mario's  sake, 
and  sure  that  his  plans  will 
succeed.  He  then  sings  his 
celebrated  soliloquy.  Scarpia 
loves  such  a  conquest  as  this — 
no  tender  vows  in  the  moon- 
light for  him !  He  prefers 
taking  what  he  desires  by 
force,  then  when  wearied  he 
is  ready  for  further  conquest. 
This,  in  short,  is  his  creed — 
God  has  created  divers  wines 
and  many  types  of  beauty — 
he  prefers  to  enjoy  as  many 
of  them  as  possible! 

Mario  is  brought  in  by  the 
police, who  report  that  Angelotti 
cannot  be  found.  Scarpia 
is  furious,  and  tries  to  force 

Mario   to  reveal  the  hiding  place  of  the  fugitive;  but  he  refuses  to  speak,  and  is  ordered 

into   the  torture  chamber  adjoining.      Tosca  comes  in  answer  to  Scorpio's  summons  and  is 

told  that  Mario  is  being  tortured  into  a  confession.     Unable  to  bear  the  sound  of  his  groans, 

she  reveals  the    hiding  place  of  Angelotti.     Scarpia,  in  triumph, 

orders  the  torture  to  cease,  but  sends  Mario  to  prison,  telling 

him  he  must  die.       Tosca  tries   to  go  with  him  but  is  forced 

to  remain. 

Then  begins  the  great  scene  of  the  opera,  which  Scarpia 

begins  by  offering  to  save    Mario's  life.     She    scornfully  asks 

him    his    price,  and   he   proposes   that  Tosco   shall    accept  his 

attentions  in  order  to  save  her  lover's  life.     He  then  sings  his 

famous  Cantabile. 


Cantabile  Scarpia     (Scarpia's  Air) 

By  Antonio  Scotti,  Baritone    88122    12-inch,    $3.OO 

Gia  mi  struggea     (You  Have  Scorned  Me) 

(Last  Part  of  Cantabile) 

By  Ernesto  Bad ini  (In  Italian)    45016     10-in.,     $1.0O 

He  tells  her  that  he  has  long  loved  her  and  had  sworn  to 
possess  her.     She  scorns  him,  but  when  he  tells  her  that  Mario    'HOTO  "«° 
shall  die  in  an  hour  and  exults  in  his  power,  her  spirit  is  broken,  SCOTTI  AS  SCARPIA 

and   weeping   for   shame,  she    sings   that   loveliest   and    most   pathetic  of   airs,  Vissi  d'arle. 

Vissi  d'arte  e  d'amor     (Love  and  Music) 

By  Nellie  Melba,  Soprano  (In  Italian) 

By  Geraldine  Farrar.  Soprano  (In  Italian) 

By  Emma  Earnes,  Soprano  (In  Italian) 

By  Lucille  Marcell.  Soprano  (In  Italian) 

By  "Maria  Bronzoni,  Soprano  (In  Italian) 

By  Agnes  Kimball,  Soprano  (In  English) 

431 


88075 

12-inch. 

$3.00 

88192 

12-inch. 

3.0O 

88010 

12-inch, 

3.0O 

76018 

12-inch. 

2.0O 

45017 

lO-inch. 

1.00 

60070 

10-inch, 

.75 

VICTOR    BOOK    OF    THE    OPER  A— P  UCCINI'S    TOSCA 


One  of  the  most  interesting  comparisons  to  be  found  in  the 
Victor's  opera  list  is  in  a  hearing  of  these  six  renditions,  by  six 
famous  Toscas — Melba,  the  Australian ;  Farrar,  Eames  and  Kim- 
ball,  the  Americans;  Marcell,  the  Frenchwoman;  and  Bronzoni, 
the  Italian,  the  latter  record  being  doubled  with  Mario's  3d  Act 
air. 

This  highly  impassioned  number  is  given  its  full  dramatic 
value  by  Mme.  Melba,  whose  performance  of  the  ill-fated  Fiona 
Tosca  is  always  an  impressive  one.  Farrar,  in  her  rendition,  de- 
livers this  touching  appeal  of  the  unfortunate  Tosca  with  much 
pathos  and  simplicity.  It  is  probably  the  most  perfect  and  beau- 
tiful of  all  the  Farrar  records.  The  air  is  also  a  fine  test  of 
Mme.  Eames'  dramatic  ability,  and  this  scene  is  one  in  which  she 
has  made  one  of  her  greatest  triumphs. 

The  unhappy  woman  asks  what  she  has  done  that  Heaven 
should  forsake  her.  Scarp/a,  who  is  watching  her  intently,  calls 
her  attention  to  the  sound  of  drums,  summoning  the  escort  for 
the  condemned  prisoners,  and  demands  her  answer.  She  yields, 
bowing  her  head  for  shame.  Scarpia  is  overjoyed,  and  when 
she  insists  that  Mario  shall  be  set  free  he  consents,  but  says  a 

TOSCA     SECURING     THE     DAGGER      ""^     «  X  C  C  U  t  i  O  n   is 

necessary. 

It  is  agreed  that  after  this  pretended  execu- 
tion, Mario  shall  have  his  liberty,  but  Tosca 
demands  a  safe  escape  from  the  country  for 
them  both.  While  Scarpia  is  writing  the  docu- 
ment, Tosca  contrives  to  secure  the  dagger 
from  the  table,  and  as  Scarpia  approaches  to 
give  it  to  her  and  then  take  her  in  his  arms,  she 
stabs  him,  crying  that  thus  she  gives  him  the  kiss 
he  desired.  In  a  prolonged  and  highly  dramatic 
scene  she  takes  the  paper  from  Scorpio's  dead 
fingers,  then  washes  her  hands  in  a  bowl  on  the 
table,  places  the  two  candles  at  the  dead  man's 
head  and  the  cross  on  his  bosom,  then  goes  out, 
turning  for  a  last  look  at  the  lifeless  body  as 
the  curtain  falls. 


ACT  III 

(A  terrace  of  San  Angela  Castle,  outside  the  prison  cell  of 

Cavaradossi .  View  of  Rome  by  night) 
The  music  of  the  opening  act  is  most  effective,  with 
its  accompaniment  of  pealing  church  bells,  and  it  is 
splendidly  played  by  Mr.  Pryor  in  the  Tosca  Selection. 
This  entire  prelude  is  also  given  by  an  Italian  orchestra 
under  the  direction  of  Sabaino,  doubled  with  the  Te 
Deum  of  Act  I. 

Prelude 

By  La  Scala  Orchestra     55008     12-inch,  $1.50 

Mario  is  brought  out  from  his  cell,  is  shown  the  official 
death  warrant,  and  told  he  has  but  one  hour  to  live.  He 
asks  permission  to  write  a  note  to  Tosca,  and  is  given 
paper  and  pen.  He  begins  to  write,  but  engrossed  with 

memories  of  the  past,  he  pauses  and  sings  passionately  of  hie  loved  one,  whom  he  expects 

never  to  see  again. 

432 


CTQR    BOOK    OF    THE    OPERA-PUCCINI'S    TOSCA 


E  lucevan  le  stelle  (The  Stars  Were  Shining) 

By  Enrico  Caruso,  Tenor  (In  Italian)  87O44  lO-inch,  $2.OO 

By  Riccar do  Martin,  Tenor  (In  Italian)  87O5O  lO-inch,  2.OO 

By  Franco  de  Gregorio,  Tenor  (In  Italian)  45O17  10-inch,  l.OO 

Mario  at  first  recalls  their  former  meetings  on  starlight  nights  in  quiet  gardens;  then,  feel- 
ing the  bitter  regret  of  loss  of  life  and  all  that  he  holds  dear,  the  voice  rises  in  passages  of 
tragical  import  and  power  as  the  air  proceeds.  The  regret,  the  grief  and  the  hopelessness 
of  the  situation  are  depicted  by  Caruso  with  intense  pathos,  the  air  closing  with  a  sob — an 
effect  by  which  this  singer  can  effectively  express  the  extremity  of  passionate  grief. 

In  Martin's  rendition  this  tenor  is  at  his  best,  singing  the  lovely  Puccini  music  with 
much  beauty  of  tone.  The  de  Gregorio  record  is  a  double-faced  one,  being  paired  with 
Mme.  Bronzoni's  Vissi  d'arte. 

Tosca  now  enters,  and  joyfully  telling  Mario  he  is  to  be  free,  shows  him  the  safe 
conduct,  telling  him  how  she  has  killed  Scarpia.  He  gazes  at  her  with  compassion  and 
regrets  that  these  hands — such  tender  and  beautiful  hands — should  be  compelled  to  foul 
themselves  with  a  scoundrel's  blood.  She  then  explains  that  a  mock  execution  has  been 
arranged,  and  instructs  him  to  fall  down  when  the  volley  is  fired,  and  when  the  soldiers  are 
gone  they  are  to  escape  together. 

In  a  beautiful  duet,  recorded  here  in  two  parts,  they  rejoice  in  their  hopes  for  the 
future. 

Amaro  sol  per  te  m'era  il  morire  (The  Bitterness  of  Death) 

By  Elena  Ruszcowska,  Soprano,  and  Egidio  Cunego.  Tenor 

(In  Italian)     88274      12-inch,     $3.OO 

Trionfa  di  nuova  speme  (A  New  "World) 

By  Elena  Ruszcowska  and  Egidio  Cunego  (In  Italian)  87069  lO-inch,  $2.OO 
The  squad  of  soldiers  now  enter  and  the  pretended  execution  takes  place  as  planned  ; 
the  shots  are  fired  and  Mario  falls  as  if  dead.  Tosca  waits  till  the  firing  party  is  gone,  whis- 
pering to  her  lover  not  to  get  up  until  the  footsteps  have  died  away.  "Now,  Mario,  all  is  safe,  " 
she  cries,  but  is  astounded  that  he  does  not  obey  her.  She  rushes  to  him,  only  to  find  that 
Scarpia  had  added  another  piece  of  treachery  to  his  long  list,  having  secretly  ordered  Mario 
to  be  killed.  She  throws  herself  on  his  body  in  an  agony  of  grief. 

Spoletta  and  soldiers  now  come  running  in  and  announce  the  murder  of  Scarpia ;  but 
when  they  attempt  to  arrest  Tosca  she  leaps  from  the  castle  wall  and  is  killed. 


VICTOR    BOOK    OF    THE    OPER  A— P  UCCINI'S    TOSCA 

DOUBLE-FACED  AND  MISCELLANEOUS  TOSCA  RECORDS 

I  Te  Deum— Finale  to  Act  I 

By  Giuseppe  Maggi  and  Chorus     (In  Italian  \55OOS     12-inch.     51.5O 
I  Preludio— Atto  III  By  Italian  Orchestra] 

I Tosca  Selection  By  Pryor's  Band)  _,  _»,      , ,  -      ,          ,  _, 

i     ManonLeKaat  Interne  By  Pryor',  BanJ(35O°3      12-'nch-        l'25 

(Gia  mi  struggea     (You  Have  Scorned  Me) 

By  Ernesto  Badini.  Baritone  In  Italian  L-nifc     ,«.-„„!,         ,  nn 

Manon  Lacaut-Donna  non  tidi \rnai     (Puccini)  f45016      l°-"*ch*        l-°° 

By  EgiJio  Cmego,  Tenor  (In  Italian  } 

fVissi  d'arte  e  d'amor       Love  and  Music) 

By  Maria  Bronzoni.  Soprano  (In  Italian)  L,. rtl  _     in        .          ,  __ 

EhicevanlesteUe       The  Stars  Were  Shining.  >   45O17     lO-mch.       l.OO 

By  De  Gregorio.  Soprano  In  Italian)} 

rosca —  Tosca  Dicina     (Divine  Tosca !) 
By  Berl-Resky.  Baritone     (In  Italian)  \          .,  .      .  fi 

Pr^htera— Alia  mcnic  confute     i  Torii)  lO-inch,          .75 

By  Giufoc  Bcrl-Raky,  Baritone     (In  Italian)} 


THE    TE    DETM FIJTALE    TO    ACT    I 

434 


(Italitn) 

LA  TRAVIATA 

(Lah  Trah-oeeah' -tah) 

OPERA  IN  THREE  ACTS 

Text  by  Piave,  founded  on  Dumas'  "  Lady  of  the  Camelias,"  but  the  period  is  changed  to 
the  time  of  Louis  XIV.  Score  by  Giuseppe  Verdi.  First  presented  in  Venice,  March  6,  1853 ; 
London,  1856;  Paris,  1856.  First  American  production  December  3,  1856,  with  Brignoli  and 
La  Grange. 

Characters  of  the  Opera 

VIOLETTA  VALERY,  a  courtesan Soprano 

FLORA,  friend  of  Violetta Mezzo-Soprano 

ANN1NA,  confidante  of  Violetta    Soprano 

ALFREDO  GERMONT,  (Zher-maw)  lover  of  Violetta    Tenor 

GIORGIO  GERMONT,  his  father Baritone 

GASTONE,  Viscount  of  Letorieres Tenor 

BARON  DOUPHOL,  a  rival  of  Alfred Baritone 

DOCTOR  GRENVIL,  a  physician Bass 

GIUSEPPE,  servant  to  Violetta Tenor 

Chorus  of  Ladies  and  Gentlemen,  friends  of  Violetta  and  Flora. 

Mute  Personages:   Matadors,  Picadors,  Gypsies,  Servants,  Masks,  etc. 

Scene  and  Period :    Paris  and  environs,  about  the  year  1 700. 

Verdi's  La  Traviata  is  based  upon  a  well-known  play  by  Alexandre  Dumas,  La  Dame 
aux  camelias,  familiar  in  its  dramatic  form  as  Camille.  It  is  one  of  the  most  beautiful  works 
of  its  class,  and  is  full  of  lovely  melodies;  while  the  story  of  the  unfortunate  Violella  has 
caused  many  tears  to  be  shed  by  sympathetic  listeners. 

The  opera  met  with  but  indifferent 
success  at  its  first  production.  Several 
ludicrous  incidents  aroused  the  laughter 
of  the  audience,  the  climax  being  reached 
when  the  Violetta  (Mme.  Donatelli),  who 
happened  to  be  very  stout,  declaimed  in 
feeble  accents  that  she  was  dying  of  con- 
sumption! This  was  too  much  for  the 
Venetian  sense  of  humor,  and  the  house 
exploded  with  mirth,  utterly  spoiling  the 
final  scene. 

The  opera  was  then  revised,  eight- 
eenth century  costumes  and  settings  being 
substituted  for  the  modern  ones  first  used ; 

and  the  new  version  was  produced  in  various  cities  with  suc- 
cess, the  London  season  being  particularly  brilliant. 

The  plot,  being  quite  familiar,  will  be  but  briefly  sketched 
here.  Violella,  a  courtesan  of  Paris,  is  holding  a  brilliant 
revel  in  her  home.  Among  the  guests  is  a  young  man  from 

Provence,  Alfred,  who  is  in  love  with  Violetta,  and  after  much  persuasion,  the  spoiled  beauty 
agrees  to  leave  her  gay  life  and  retire  with  him  to  an  humble  apartment  near  Paris.  After 
a  few  brief  months  of  happiness,  the  lovers  are  discovered  by  Alfred's  father,  who  pleads 
with  Violetta  to  release  his  son  from  his  promises.  She  yields  for  his  sake,  and  resumes  her 
former  life  in  Paris.  Alfred,  not  knowing  the  real  cause  of  her  desertion,  seeks  her  out  and 
publicly  insults  her.  Too  late  he  discovers  the  sacrifice  Violetla  has  made,  and  when  he 
returns,  full  of  remorse,  he  finds  her  dying  of  consumption,  and  she  expires  in  his  arms. 

Prelude  to  Act  I 

By  La  Scala  Orchestra     (Double-faced- See  page  441}  68O27     12-inch.  $1.25 

The  prelude,  one  of  the  loveliest  bits  in  the  opera,  is  played  in  fine  style  by  the  famous 
orchestra  of  La  Scala. 

435 


-RANCESCO     PfAVl 

(1810-1876) 

LIBRETTIST    OF 

TRAVIATA 


VICTOR    BOOK    OF    THE    O  P  E  R  A— V  E  R  D  I  «S    TRAVIATA 

ACT  I 

SCENE — Drawing-room  in  the  House  of  Violtiia 

A   gay   revel  is  in  progress  at  the  house  of    Viole.Ua,    and  the  act  opens  with  a  lively 
chorus,  followed  by  a  rousing  drinking  song,  given  by  Alfred,  in  which  Violetta  joins. 

Libiam  nei  lieti  calici     (A  Bumper  We'll  Drain) 

By  Amelia  Rizzini,  Soprano;  Emilio  Perea,  Tenor:  and  La  Scala 

Chorus  (In  Italian)     *62415      10-inch,  $0.75 

ALFRED:  VIOLETTA: 

A     bumper     we'll     drain     from     the     wine-cup         Enjoy  the  hour,  for  rapidly 

flowing,  The  joys  of  life  are  flying — 

That  fresh  charms  to  beauty   is  lending,  Like  summer  flow'rets  dying — 

O'er  fleeting  moments,  so  quickly  ending,  Improve  them  while  we  may! 

Gay  pleasure  alone  should  reign.  The  present  with  fervor  invites  us. 

Its  flattering  call   obey. 
CHORUS: 

Enjoy     then      the      wine-cup     with     songs     of 

pleasure 

That  make  night  so  cheerful  and  smiling, 
In  this  charming  paradise,   beguiling, 
That  scarcely  we  heed  the  day. 

The  dance  commences,  and  all  go  into  the  ballroo'm  except   Violetta  and  Alfred,  who 
remain  for  a  charming  love  scene.      In  a  beautiful  duet  the  lovers  speak  of  their  first  meeting. 

Un  di  felice   (Rapturous  Moment) 

By  "Marie  A.  Michailowa,  Soprano,  and  A.  M.  Davidow, 

Tenor  (In  Russian)     61138      lO-inch,  $1.OO 

By  Emma  Trentini,  Soprano,  and  Gino  Martinez-Patti, 

Tenor  (In  Italian)      *62O67      lO-inch.       .75 

Alfred  now  bids  her  a  tender  farewell  and  takes  his  departure,  and  Violetta  sings  her 
great  air,  one  of  the  most  brilliant  of  all  colorature  numbers. 

(  Ah,  fors'  e  lui  (The  One  of  Whom  I  Dreamed) 
\  Sempre  libera  (The  Round  of  Pleasure) 

By  Luisa  Tetrazzini.  Soprano                                (In  Italian)     88293  12-inch.  $3.OO 

By  Marcella  Sembrich,  Soprano                            (In  Italian)     88O18  12-inch,     3.OO 

By  Nellie  Melba.  Soprano                                      (In  Italian)      88O64  12-inch,     3.0O 

By  Lucy  Marsh.  Soprano                                         (In  Italian)      7OO94  12-inch,      1.25 

By  Giuseppina  Huguet,  Soprano     (Parti)       (In  Italian)   *62O84  lO-inch,        .75 
By  Giuseppina  Huguet,  Soprano,  and  Pietro  Lara,  Tenor 

(Part  II)                                                                          (In  Italian)   *62O84  lO-inch,       .75 
The  aria  occurs  at  the  close  of  the  act.      Violetta,  wonderstruck  at  finding  herself  the 
object  of  a  pure  love,  begins  the  soliloquy,  E  strano,  saying: 

How  wondrous!  Shall   I   dare  disdain  it, 

His  words  deep  within  my  heart  are  graven!  And  choose  the  empty  follies  that  now  surround 

No  love  of  mortal  yet  hath  moved  me.  me? 

She  then    sings   the   plaintive  air,    Ah,  fors'  I  lui,  and   gives   herself  up  to  the  spell  of 
awakening  love: 

VIOLETTA: 

Ah,   was  it  he  my  heart  foretold,   when  in   the         Strewing  my  way  with  flowers, 

throng   of  pleasure,  Waking  my  heart  to  love! 

Oft    have    I    joy'd   to   shadow    forth    one   whom         Ah,  now  I  feel  that  'tis  love  and  love  alone, 

alone  I'd  treasure.  Sole  breath  of  all  in  the  life,  the  life  universal. 

He   who  with  watchful   tenderness  guarded  my         Mysterious  power,  guiding  the  fate  of  mortals. 

waning  powers.  Sorrow  and  sweetness  of  this  poor  earth. 

The  animated  last  movement  follows,  as  the  unhappy  woman  shakes  off   the  illusion 
and  once  more  vows  to  devote  her  life  to  pleasure. 

^Doakk-FaceJRccorJ-Fortltk  of  oppose  *Jc  **  DOUBLE-FACED  LA  TRA  VIA  TA  RECORDS.  P  ,„,-  441. 

437 


VICTOR    BOOK     OF     THE     O  P  E  R  A- V  E  R  D  I '  S    TRAVIATA 


What  folly!   what  folly! 

For  me  there's  no   returning! 

In  ev'ry  fierce  and  wild  delight. 

I'll  steep  my  sense  and  die! 

I'll  fulfill  the  round  of  pleasure, 

Joying,  toying  from  flower  to  flower, 

I  will  drain  a  brimming  measure  from  the  cup 

Never  weary,  each  dawning  morrow 
Flies  to  bear  me  some  new  rapture 
Ever  fresh  delights  I'll  borrow, 
I  will  banish  all  annoy! 

Victor  customers  have  no  fewer  than  six  rendi- 
tions of  this  great  air  at  their  command  and  are 
likely  to  be  embarrassed  in  their  attempts  to  choose 
between  them. 

Melba's  singing  of  this  air  is  marked  not  only 
by  great  brilliancy,  but  by  dramatic  fervor,  and  she 
makes  a  marked  contrast  between  the  sadness  of 
the  prelude  and  the  forced  gayety  of  the  finale. 
Both  portions  of  the  aria  (formerly  issued  in  two 
parts)  now  are  included  in  one  record. 

Mme.  Tetrazzini  chose  this  opera  for  her  first 
appearance  both  in  London  and  New  York,  and  the 
choice  was  an  admirable  one,  as  Verdi's  work  ex- 
hibits all  the  soprano's  fine  qualities — not  only  her 
wonderful  coloratura  but  the  warmth  and  color 
which  she  possesses  in  a  high  degree.  Many  oper- 
atic sopranos  regard  the  part  of  Violetta  merely  as  a 
background  for  a  vocal  display.  Tetrazzini  on  the 
other  hand,  while  not  neglecting  the  opportunities  for  coloratura,  brings  to  the  part  a  human 
tenderness  and  a  pathos  which  are  most  affecting.  Her  rendering  of  this  familiar  Ah,  fors 
e  lui  is  a  most  musical  one,  with  its  astonishing  feats  of  execution;  and  the  ease  with 
which  she  trills  an  E  in  alt  can  only  be  described  as  amazing. 

Mme.  Sembrich  in  her  turn  fully  realizes  the  composer's  ideal  in  the   presentation  of 
this  florid  and  ornamental  air,  and  seldom  has  a  more  satisfying  rendition  been  heard. 

Other  fine  renderings  are  provided  by  Miss  Marsh  and  Mme. 
Huguet. 

ACT  II 

SCENE — Interior  of  a  Country  House  near  Paris 
Alfred  enters  and  soliloquizes  upon  his  new-found  happiness. 

ALFRED:    Three  months  have  already  flown 
Since   my   belov'd  Violetta 
Left  for  me   her   riches  and  admirers. 
Yet  now  contented  in  this  retreat,  so  quiet, 
She  forgets  all  for  me. 

He  then  sings  his  Dei  miei  bollenti,  a  lovely  air,  in  which  he  speaks 
of  his  wild  youth,  and  the  peace  and  happiness  which  have  come  to 
him  through  his  love  for  Violetta. 

Dei  miei  bollenti  spiriti    (Wild  My  Dream) 

By  Aristodemo  Giorgini        (Italian)      76O11      12-inch.  $2.0O 


BA     AS     VIOLE1 


By  Herman  Jadlowker 
By  Emilio  Perea,  Tenor 
By  Alberto  Amadi,  Tenor 

ALFRED: 


(Italian)  76O24 
(Italian)  *68156 
(Italian)  *63314 


12-inch, 
12-inch, 
10-inch, 


2.00 
1.25 

.75 


(ACT 


SCENE    I) 


Fever'd  and  wild  my  dream  of  youth, 

No  star   on   high   to  guide   me, 

She  shone  on  me  with  ray  benign, 

And  trouble  fled  away! 

When    low    she    whisper'd:      "Live   for   : 

earth  I  love  but  thee," 
Ah,  since  that  bright,   that  blessed  day, 
In  Heaven,  'mid  joys  celestial, 
In  Heaven  I  seem  to  be ! 


:  Double-faced  Record— For  title  ofoppoiite  tide  see  DOUBLE-FA  CED  LA  TRA  VIA  TA  RECORDS,  page  44 1 . 


VICTOR    BOOK    OF     THE     O  P  E  R  A— V  E  R  D  I '  S     TRAVIATA 


CONSTANTINO 

AS     ALFRED 

(ACT    II,    SCENE    II) 


Alfred  learns  from  Violelta 's  faithful  maid  that  she  has  been  obliged 
to  sell  her  jewels  for  their  support.  He  is  much  ashamed  and  leaves  for 
Paris  to  secure  some  money. 

Violelta  returns  and  is  surprised  at  Alfred's  sudden  departure.  A 
visitor  is  announced,  who  proves  to  be  Germont,  the  father  of  Alfred.  He 
has  been  greatly  distressed  at  his  son's  entanglement,  and  comes  to  beg 
Violelta  to  release  the  young  man  from  his  promises.  She  is  much  moved, 
and  her  bearing  makes  a  favorable  impression  on  Germont,  especially  •when 
he  learns  that  she  has  sold  her  property  for  Alfred's  sake. 

Pura  siccome  un  angelo  (Pure  as  an  Angel) 

By  Battaglioli  and  Badini      (In  Italian)   *450O1      lO-inch,  $1.OO 
By  Renzo  Minolfi,  Baritone  (In  Italian)  *62415     lO-inch,        .75 

Non  sapete   (Ah,  You  Know  Not) 

By  Ernesto  Badini,  Baritone      (Italian)  *45028     lO-inch,  $1.OO 

In  this  air  Germonl  pleads  for  his  own  daughter,  whose  engagement 
to  a  youth  of  Provence  will  be  broken  if  Alfred  does  not  return  home. 
Violetta  at  first  refuses,  saying  that  her  love  for  Alfred  is  above  all  other 
considerations,  but  when  Germont  says : 

Be  to  my  home  and  lov'd  ones 

Our  angel,   good,  consoling. 

Violetta,    oh,   consider   well 

While  yet  there  may  be  time. 

'Tis  Heav'n   itself  that  bids  me  speak, 

These  words  in  faith  sublime! 

she  finally  yields,  agreeing  to  leave  Alfred  forever,  and  they  sing  a  melo- 
dious duet : 

Dite  alia  giovine  (Say  to  Thy  Daughter) 

By  Maria  Galvany  and  Titta  Ruffo  (In  Italian)     92503     12-inch,  $4.00 

GERMONT: 
ine,    young,    pure    and         Weep  on,  thou  hapless  one, 

Weep  on;  I  witness  thy  trial 

hose   life   of   sad-         In   what  I  ask  of  thy  self-denial. 

ness  Bear  up,  thou  noble  heart,  triumph  is  nigh. 

Had  but   one   single   ray   of  rapture   and   glad-    VIOLETTA: 

ness,  Embrace    me    as    thy    daughter,    then    will    my 

Which  she  will  yield  to  her,  then  gladly  die.  heart    be    strong. 

(They  embrace.) 
Ere   long   restor'd   you'll   find   him. 

Germont  expresses  his  gratitude,  embraces  the  weeping 
Violetta  and  departs,  while  the  unhappy  woman  writes  to 
Alfred  of  her  decision  and  returns  to  Paris. 

When  the  young  man  returns  he  is  driven  to  despair  by 
Violetta 's  note,  and  repulses  his  father,  who  pleads  with  him 
to  return.  Germont  then  sings  his  most  beautiful  number,  the 
Di  Prooenza. 

Di  Provenza   il  mar     (Thy   Home   in   Fair 
Provence) 

By  G.  Mario  Sammarco,  Baritone 

(In  Italian)      88314      12-inch,  $3.0O 

By  Ernesto  Badini,  Baritone 

(In  Italian)   *45OO1      lO-inch,     l.OO 

In  this  touching  appeal  he  asks  his  son  to  return  to  his 
home  in  Provence  and  to  his  father's  heart. 

Sammarco  sings  the  number  •with  a  wealth  of  tenderness 
and  expression,  revealing  a  smooth,   rich   and   resonant   bari- 
tone which   is  good  to  hear;  and  a  popular-priced  record  by 
MME.  GUIONIE  AS  VIOLETTA       Badini  is  also  offered. 

*Double.Fa<xd  Record—  For  title  of  ophite  tide  xc  DOUBLE-FACED  LA  TRA  VIA  TA  RECORDS,  page  44 1. 

439 


VIOLETTA: 

Say    to    this    child    of 

lovely, 
Thou   hast   a   victim    found, 


VICTOR    BOOK    OF    THE     OPERA— VERDI'S     TRAVIATA 

GERMONT: 

From  fair  Provence's  soil  and  sea, 

Who  hath  won  thy  heart  away? 

From  thy  native   sunny  clime, 

What  strange  fate  caus'd  thee  to  stray? 

Oh,  remember  in  thy  woe 

All  the  joy  that  waits  for  thee, 

All  the  peace  thy  heart   would  know, 

Only  there,   still   found  may   be. 

Ah,  thy  father  old  and  worn, 

What  he  felt  thou   ne'er  canst  know, 

In  thine  absence,  so  forlorn 

Seem'd  his  home,  with  grief  and  woe. 

But  I  find  thee  now  again, 

If  my  hope  doth  not  mislead, 

If  yet  honor  doth  remain 

With  its  voice  not  mute   or  dead, 

Heav'n  sends  me  aid! 

Alfred  refuses   to  yield   to   his  father's  plea, 
and  departs  for  Paris  in  search  of  Violetta. 

SCENE  II— ,4  Richly  Furnished  Salon  in  Flora's 

Palace.       On  the  Right  a  Gaming  Table  ^^^        VIOLETS— ACT 

As  the  curtain  rises  Flora  and  her  friends  are  discussing  the  separation  of  the  lovers 
and  Flora  says  she  expects  Viole.Ha  will  soon  arrive  with  the  Baron.  Alfred  enters,  and 
remarking  with  assumed  indifference  that  he  knows  nothing  of  Violetta's  whereabouts, 
begins  to  gamble  and  wins  heavily. 

The  Baron  appears,  accompanied  by  Violetta,  who  is  agitated  at  the  sight  of  Alfred, 
but  he  pretends  not  to  see  her  and  challenges  the  Baron  to  a  game,  again  winning  large 
amounts.  Supper  is  announced  and  all  leave  the  room  except  Violetta  and  Alfred,  who 
linger  behind.  He  charges  her  with  her  falseness,  and,  in  furtherance  of  the  promise 
made  to  Germont,  she  pretends  to  him  that  she  loves  the  Baron.  Alfred  then  loses  all  con- 
trol over  himself,  and  throwing  open  the  doors,  he  calls  to  the  guests  to  re-enter. 

Questa  donna  conoscete  (Know  Ye  All  This  W^oman  ?) 

By  Alberto  Amadi,  Tenor  (In  Italian)   *63314     lO-inch,  $O.75 

Pointing  to  Violetla,  Alfred  cries  wildly: 


ALFRED: 

All  she  possess'd,  this  woman 
Hath  for  my  love  expended. 
I,  blindly,  basely,  wretchedly. 


i.    c 

Tin 


hedly. 
ended. 


But  there  is  time  to  purge  me  yet 
From   stains  that   shame,   confound  me. 
Rear  witness  all  around  me 
That  here  I  pay  the  debt! 


and  completes  the  insult  by  throwing  at  her  feet  the  money  he  had  just  won. 

At  this  moment  Alfred's  father,  Germont,  enters,  and  is  horrified  at  the  scene  which  con- 
fronts him.  Then  follows  the  splendid  finale,  one  of  the  greatest  of  Verdi's  concerted 
numbers. 


Alfredo,  di  questo  core  (Alfred,  Thou  Knowest  Not) 

By  Giuseppina  Huguet,  Soprano;  G.  Pini-Corsi,  Tenor;  Ernesto 

Badini,  Baritone ;  and  Chorus  (In  Italian)     58392     12-inch,  $1.00 

The  emotions  of  the  various  characters  are  expressed  by  the  librettist  as  follows : 

GUESTS:  BARON: 

Oh,  to  what  baseness  thy  passions  have  led 

To  wound  thus  fatally  one  who  has  loved  thee! 
GERMONT: 


This  shameful   insult  against  this  lady 
Offends  all  present;  behold  me  ready 
To   punish  the   outrage! 
VIOLETTA  (reviving): 

Ah,  lov'd  Alfredo,  this  heart's  devotion 
Thou  canst  not  fathom  yet — its  fond  emotion! 
When,  hereafter  the  truth  comes  o'er  thee 
May  Heaven   in  pity  then   spare  thee   remorse! 
(Germont   goes  out   supporting  Alfred,   who   is 
almost  in  a   state   of   collapse.      The  fainting 
Violetta  is  led  away  by  her  friends,  and  the 
guests  begin  to  disperse  as  the  curtain  falls.) 

Double-FaceJ  Record— For  title  of  opposite  side  see  DOUBLE-FA  CED  LA  TRA  VIA  TA  RECORDS,  page  44 1 . 

440 


Of  scorn  most  worthy  himself  doth  render 
Who  wounds  in  anger  a  woman  tender! 
My  son,  where  is  he?     No  more  I  see  him; 
In  thee,  Alfred,  I  seek  him;  but  in  vain! 
ALFRED   (aside) : 

Ah!   yes,    'twas  shameful!    a   deed  abhorrent! 
A   jealous  fury — love's   madd'ning  torrent. 
But  now  that  fury  is  all  expended, 
Remorse  and  horror  to  me  remain. 


VICTOR    BOOK     OF     THE     OPERA-VERDI'S     TRAVIATA 

ACT  III 

(Violeita's  apartment.      She  is  asleep  on   the   couch,  while  her  maid  dozes  by  the  fire) 
As  the  curtain    rises   the    doctor's   knock  is  heard,  and  Dr.  Grenvil,  yioletta  's  physician, 
enters  and  attends  his  patient,  afterwards   telling   the  maid   that   she  has  not  long    to   live. 
Left  alone,    yioletta   reads  again  a  letter  she  has  received  from  Germont. 

' '  Thou  hast  kept  thy  promise.  The  duel  took  piece  and  the  Baron  was  wounded,  but  is 
improving.  Alfredo  is  in  foreign  countries.  Your  sacrifice  has  been  reoealed  to  him  by  me,  and  he 
will  return  to  you  for  pardon.  Haste  to  recover ;  thou  deserveth  a  bright  future. 

Georgio  Germont 
"Alas,  it  is  too  late,"  she  exclaims,  and  sings  her  beautiful  and  pathetic  "Farewell." 

Addio  del  passato  (Farewell  to  the  Bright  Visions) 

By  Alice  Nielsen,  Soprano  (In  Italian)     64O68     10-inch,  $1.OO 

By  Marie  Michailowa,  Soprano  (In  Russian)     61178     10-inch,     l.OO 

VIOLETTA: 

Farewell    to    the    bright    visions    I    once    fondly         Pity  the   stray   one,   and   send   her   consolation, 
cherish'd,  Oh,    pardon    her    transgressions,    and    send    her 

Already    the    roses    that    deck'd    me    have    per-  salvation. 

ish'd;  The   sorrows  and  enjoyments  of   life   will   soon 

The  love  of  Alfredo  is  lost,  past  regaining,  be  over, 

That  cheer'd   me   when  fainting,   my  spirit  sus-         The    dark    tomb    in    oblivion    this    mortal    form 

taining.  will  cover! 

Alfred  now  enters,  filled  with  remorse,  and  asks  forgiveness,  which  is  freely  granted ; 
and  yioletta,  forgetting  her  illness,  plans  with  Alfred  to  leave  Paris  forever.  They  sing  this 
melodious  duet,  "Gay  Paris  We'll  Leave  With  Gladness." 

Parigi  o  cara  (Far  from  Gay  Paris) 

By  Alice  Nielsen  and  Florencio  Constantino        (Italian)      74O75     12-inch,  $1.5O 

By  Amelia  Rizzini,  Soprano,  and  Emilio  Perea,  Tenor    *62O67     10- inch,        .75 

At  the  close  of  the  duet  yioletta 's  overtaxed  strength  gives  way,  and  she  collapses  in  her 

lover's  arms.     He  notices  for  the  first  time  her  paleness,  and  is  much  alarmed,  sending  the 

maid  to  call    the  doctor.     Dr.    Grenvil  soon  enters,  accompanied    by  Germont,  and  after  an 

affecting  scene,  in  which  Germont  blames  himself  for  all  that  has  occurred,  yioletta  expires, 

and  the  curtain  falls  on  a  sorrowful  tableau. 


DOUBLE-FACED  AND  MISCELLANEOUS  TRAVIATA  RECORDS 

/Prelude  By  La  Scala  Orchestral, H  i •>,•„„!,    *i  o* 

1     L'Jlfricana— Marcia  Indiana  By  La  Scala  Orchestra^8027      I2'lnch<  $1'25 

JTraviata  Selection  By  Pryor's  Band)  _,„_,      .  _   .     ,          ,,. 

\      «*•  r-  7     ..  D     r>        »     r»      jfjD\)i'O      Iz-incn.      1.25 

I      Trovatore  Selection  By  rryor  s  Band! 

/Alfredo,  di  questo  core          By  Huguet,  Pini-Corsi  and  Badini),  „„_,„     10    .     ,       ,  ~~ 

\      RuyBlas—Odolcevolutta  By  Grisi  and  Lara     (In  Italian)}™  12-inch,     1.25 

JDeimiei  bollente  ("Wild  My  Dream)          By  Perea     (In  Italian)\  ,  „.  -,      ,,,-___      ,  ->s 

I     Ernani-Ferma  crudele  By  Bernacchi,  Colazza  and  de  Lunaf™ 

/Non  sapete  (Ah,  You  Know  Not)  By  Ernesto Badini\.-o»ft     minrh      l  oo 

1      Manon—Gavotta  By  Giuseppina  Huguet     (In  Italian)}45 

/Di  Provenza  il  mar  By  Ernesto  Badini     (In  Italian)}  .*„„.      in  inch      l  OO 

IPura  siccome  un  angelo    By  Battaglioli  and  Badini    (In  Italian)}45 

/Ah,  fors' e  lui  By  Giuseppina  Huguet     ( In Italian)\  4     lo_inch        -75 

ISempre  libera  By  Huguet  and  Lara      (In  Italian)) 

Un  di  felice,  eterea  By  Trentini  and  Martinez-Pattij 

Parigi  o  cara  By  Amelia  Rizzini,  Soprano,  and     J62O67     lO-inch,       .75 

Emilio  Perea,  Tenor  (In  Italian)] 

Pura  siccome  un  angelo  By  Renzo  Minolfi     (In  Italian)} 

Libiam  nei  lieti  calici   (A  Bumper  We'll  Drain)  [62415     lO-inch.       .75 

By  Rizzini,  Perea  and  Chorus     (In  Italian)} 

(Dei  miei  bollenti  spiriti  By  Alberto  Amadi     (In  Italian)}  ,  „„  .  .      in  inch          7S 

iQuesta  donna  conoscete  By  Alberto  Amadi     (In  Italian)]^ 

*  Double-Faced  Record—  For  title  of  opposite  tide  xe  aboae  Hit. 

441 


GADSKI      AS       ISOLDE 


ES     FROM     TRISTA> 


TRISTAN  °UND  ISOLDE 

(  Tris'-tahn  oondl  Eea-sof -Jeh) 


(Italian) 

TRISTANO  E  ISOTTA 

(  Tree,4ah' -noh  ay  Ees-sof -tah) 


(English) 

TRISTAN  AND  ISOLDE 

(Tri,-tanandli,-or-dih) 

OPERA  IN  THREE  ACTS 

Words  and  music  by  Richard  Wagner,  the  plot  being  derived  from  an  old  Celtic  poem 
of  the  same  name,  written  by  Gottfried  of  Strasburg,  who  flourished  in  the  thirteenth 
century — though  Wagner  has  changed  the  narrative  sufficiently  to  make  it  his  own.  Tristan 
is  one  of  the  most  popular  of  legendary  heroes  and  has  been  treated  of  by  numerous 
writers,  among  them  Tennyson,  Matthew  Arnold  and  Swinburne. 

Wagner's  Tristan  and  Isolde  was  first  presented  in  Munich,  June  10,  1865.  First  London 
production  June  20,  1882.  First  American  performance  in  New  York,  December  1,  1885. 

443 


VICTOR    BOOK    OF    THE    OPERA— TRISTAN    AND    ISOLDE 


Characters 
TRISTAN,  a  Cornish  knight,  nephew  of  King  Mark   -Tent 

KING  MARK  of  Cornwall  B» 

1SOUDE,  Princess  of  Ireland 
KURVENAL,  Tristan's  devoted  servant 
MELOT,    (.WW^f >    one  of  King  Mark's  courti 

BRANGANE.  tPrmrjV  —*•}  bolde's  friend  and 

attendant Soprano 

A  SHEPHERD Tenor 

A  STEERSMAN Baritone 

A  SAILOR  LAD Tenor 

Chorus  of  Sailors,  Knights,  Esquires  and  Men-at-Arms. 


Ter.or 


Although  completed  in  1859,  Tristan  was  not  produced 
years  later.  Through  die  strenuous  efforts  of  King 
II  of  Bavaria,  it  was  ultimately  brought  out  in 
distinct  artistic  success — Schnorr,  the  tenor. 
_  briffiandy  in  the  rdle  of  Tristan.  Previous  to  th» 
time,  however,  it  had  been  underlined  for  performance  in 
Vienna,  but  was  abandoned  after  fifty-seven  rehearsals. 

The  opera  did  not  find  its  way  to  America  until  it  was 


Lndwig  11  of 
Amxnicii  wiUft 


OUdXAL      ROGKAV 


OF      TBISTAX, 
865 


more  dian  twenty  years  old,  but  since  that  time  has 
grown  steadily  in  popularity. 

This  great  drama  of  love  and  hatred,  with  its  won- 
derful music,  is  now  quite  generally  admitted  to  be  the 
finest  of  die  master's  operas.  Written  at  the  time  of 
Wagner's  own  love  affair  (with  Mathilde  WesendonckX 


low  cannot  always  DC  bound  by  \ 

Triton,  a  Comid,  knight,  has  a  quarrel  with  McroU, 
an  tish  chieftain  who  had  been  sent  to  collect  tribute. 


and  kiDs  him;  and  after  the  custom  of  the  time,  sends 
given  to  his  affianced,  an  Irish 
princess,  balde.      Tristan  himself  had  received  adanger- 


back  his 


m; 
head, 


which  is 


ons  wound  which  fails  to  heal,  and  he  resolves  to 

il  ...........  f  Taaftfiamlaiil  llii    iisi«  .......  f  frn/rfi    iilm 

is  famed  for  her  knowledge  of  the  art  of  healing.  IxJJe, 
however,  recognizes  him  by  a  notch  in  his  sword,  which 
fits  exactly  a  piece  of  metal  she  had  extracted  from  die 
head  of  MofoU.  She  plans  to  kiD  him,  but  faus  in  love 
instead,  while  he  merely  sees  in  her  a  good  wife  for  his 


ship  which  is  conveying  /«4fc  and  TVirfan  to  Cornwall. 
osal,  made  through  In,  nephew.  During  the  voyage, 
her,  the  exultation  of  the  sailors  over  die  IdOrng  of 


Preludio  (Prelude) 

By  La  Scala  Orchestra  6821O  12-inch.  $1.25 
which  is  conveying  /«4fc  and  TVirfan  to  Cornwall. 
she  having  accepted  Xl^ 
hunnu.  die  refusal  of  Trutan  to 
MoroU  (which  freed  CornwaD  from  its 
die  loveless  marriage  she  is  about  to  contract,  mfu  riate  the  Princess,  and  she  resolves  to  die 
_doWrrn*»  down  to  death  with  her.  She  teOs  Trtrion  she  is  aware  of  his  crime  in  kffl- 
•VSMT  lover,  and  demand,  vengeance.  He  adwto  her  right  to  kiU  him  and  off  ers  his  sword. 
but  she  bids  her  maid,  BrangSne,  prepare  two  cups  of  poison  from  her  casket.  Brc 


nnwflhng  to  see  her  mistress  die,  secretly  substitutes  for  the  poison  a 

of  which  is  ii..»ululi.  and  the  lovers  sink  into  each  others  arms  just  as  the 

proaches  the  shore  and  the  King  arrives  to  claim  his  bride. 

Act  0  fate,  pkce  m  Ae  **oV»  ootede  boUe',  chamber.     The  King  has  gone  on  a 

and  thinks  the  King's  cour- 


fear,  that  it  is  merely  a  ruse, 


VICTOR    BOOK    OF    THE    O  PE  RA— TR I  STAN    AND    ISOLDE 


ISOLDE: 
Thy  act? 
O  foolish  girl! 

Love's  goddess   dost  thou   not  know? 
The  witch   whose   will  the  world  obeys; 
Life  and  death  she  holds  in  her  hands, 
She  waketh  hate  into  love! 
The   work   of  death 


tier,  Me/o/,  suspects  the  true  state  of  affairs.  Brangdne  then  confesses 
that  she  intentionally  substituted  the  philtre  for  the  poisoned  cup  in- 
tended for  Tristan. 

BRAGANE: 
Fatal  folly! 

The  fell  pow'r  of  that  potion! 
That  I  framed 
A  fraud  for  once 
Thy  orders  to  oppose! 
Had  I  been  deaf  and  blind, 
Thy  work  were  then  thy  death! 
But  thy  distress, 
Thy  distraction  of  grief, 
My  work  has  contrived  them, 
I   own   it ! 

This  confession  meets  with  but  faint  reproaches  from  Isolde,  who 
gives  herself  up  wholly  to  the  intoxication  of  the  potion,  and  sings 
with  growing  exaltation : 

Dem  Werk  (Thy  Act) 

By  Johanna  Gadski,  Soprano 

(In  German)     88165     12-inch,  $3.OO 


I  took  into  my  own  hands; 

Love's  goddess  saw 

And  gave   her  good  commands. 

Planning  our   fate  in  her  own   way. 

How  she  may  bend  it,   how  she  may  end  it, 

Still    hers   am   I    solely; 

What  she  may  make  me,  whereso'er  take  me 

So  let  me  obey  her  wholly! 


Refusing  to  heed  Brangane's  warning,  Isolde  gives  the  signal  for  Tristan's  coming  by  ex- 
tinguishing the  torch.  He  appears,  and  a  long  love  scene  ensues,  interrupted  by  the  return 
of  the  King,  who  surprises  the  lovers  in  a  fond  embrace.  Mark  bitterly  reproaches  his 
nephew,  and  Melot,  shouting  "treason,"  stabs  Tristan,  inflicting  a  fatal  wound. 

The  third  act  shows  Tristan  dying  of  the  wound  at  his  castle  in  Bretagne,  whither  he 
has  been  carried  by  his  faithful  servant,  Kurvenal,  who  has  sent  for  Isolde,  knowing  that 
she  alone  can  cure  his  master's  wound  by  means  of  her  healing  arts. 


VICTOR    BOOK    OF    THE     OPE  RA— TRI  STAN     AND     ISOLDE 


Despairing  of  her  coming,  Tristan  in  his  delirium  tears  off  his  bandages  and  is  at  the 
point  of  death  when  Isolde  arrives,  and  dies  in  her  arms.  King  Mark  and  his  courtiers, 
closely  pursuing  Isolde,  now  arrive  and  are  attacked  by  Kunenal,  who  kills  Melot  and  is 
himself  slain  by  Mark 's  soldiers.  Mark,  seeing  Tristan  dead  and 
Isolde  senseless  on  his  body,  repents  his  rage  and  gives  way  to 
grief.  Isolde  revives,  and  when  she  Realizes  that  Tristan  is  dead, 
her  grief  bursts  forth  in  the  heartrending  Love-Death  motive: 

THE  Lovi  DEATH: 


Then  she  sings  this  wondrous  death  song,  so  full  of  touching 
sadness  and  inexpressible  sweetness,  and  expires  upon  the  body 
of  Tristan. 

Isolde's  Liebestod  (Isolde's  Love-Death) 

By  Johanna  Gadski,  Soprano 

(In  German)     88O58      12-inch,  $3.OO 
By  Victor  Herbert's  Orchestra 

(Double-faced— See  below)  55O41       12-inch,      1.5O 

By  La  Scala  Orchestra  (Double-faced— See  below) 

68210     12-inch,     1.25 

ISOLDE    (unconscious    of    all    around    her, 
turning    her    eyes    with    rising    inspira- 
tion  on   Tristan's  body)  : 
Mild  and  softly  he  is  smiling; 
How  his  eyelids  sweetly  open! 
See,  oh  comrades,  see  you  not 
How  he  beameth  ever  brighter — 
How  he  rises  ever  radiant 
Steeped  in   starlight,   borne  above? 
See  you  not  how  his  heart 
With  lion   zest,   calmly   happy 
Beats   in   his  breast? 
From   his  lips  in  Heavenly  rest, 
Sweetest  breath   he   softly   sends. 
Harken,   friends! 
Hear  and  feel  ye  not? 
Is  it  I  alone   am  hearing 
Strains   so  tender  and  endearing? 
Passion   swelling,  all  things  telling, 
Gently  bounding,   from   him  sounding, 
In  me  pushes,   upward  rushes 
Trumpet  tone  that  round  me  gushes. 
Brighter  growing,   o'er  me  flowing, 
Are  these   breezes  airy  pillows: 

Ik 

Sh: 

To   my   panting  breathing   win   them? 

In  the  breezes  around,  in  the  har- 
mony sound, 

In  the  world's  driving  whirlwind  be 
drown'd — 

And,   sinking,   be   drinking — 


rgter  growng,   oer  me     owng, 
re  these   breezes  airy  pillows? 
re  they  balmy  beauteous  billows? 
ow  they  rise  and  gleam  and  glisten! 
hall   I  breathe  them?      Shall   I   listen? 
hall   I  sip  them,  dive  within  them? 


ISOLDE'S  LIEBESTOD 

DOUBLE-FACED  TRISTAN  AND  ISOLDE  RECORDS 

!  Isolde's  Liebestod  (Isolde's  Love  Death)     By  Herbert's  Orch\  ,  ,.  n  , ,  ,»    •      ,     >.,  , 

Traume      (Dreams)      (Wagner)  By  Yictor  Herbert's  Orchestral 5       *  13-incfc,  fl 

Prelude  By  La  Scala  Orchestral,  Q_ .  „  ,  0    •     .        ,  * 

By  La  Scala  Orchestra}68210  12-inch<     1" 

446 


llsolde's  Love-Death 


L    TROVATORE FIRST    SCENE 


(English) 

THE  TROUBADOUR 


(Italian) 

IL  TROVATORE 

(Eel  Troh-vah-toh'-reh) 

OPERA  IN  FOUR  ACTS 

Words  by  Salvatore  Cammanaro,  the  story  being  suggested  by  a  Spanish  drama  of  the 
same  name.  Music  by  Giuseppe  Verdi.  Produced  at  the  Teatro  Apollo,  Rome,  January  19, 
1853;  at  the  Theatre  des  Italiens,  Paris,  December  23,  1854;  at  the  Opera,  Paris,  as 
Le  Trouvere,  January  12,  1857;  at  Covent  Garden,  London,  May  17,  1855;  in  English  as  The 
Gypsy's  Vengeance,  Drury  Lane,  March  24,  1856.  First  New  York  production  May  17,  1855, 
with  Brignoli,  Amodio  and  Vestvali.  In  German,  at  the  Metropolitan  Opera  House,  in  1889. 

Characters 
LEONORA,(Lee-oA-noA'-raA)a  noble  lady  of  theCourt  of  an  Aragon  Princess .  .  Soprano 

AZUCENA,  (Ahz-you-sau ' -nah)  a  wandering  Biscayan  gypsy Mezzo-Soprano 

INEZ,  C  Ee'-nez)  attendant  of  Leonora Soprano 

MANRICO,  (Mcn-ree'-koh)  a  young  chieftain  under  the  Prince  of  Biscay, 

of  mysterious  birth,  and  in  reality  a  brother  of  Count  di  Luna Tenor 

COUNT  DI  LUNA,  (dee  Loo- nah)  a  powerful  young  noble  of  the  Prince 

of  Arragon Baritone 

FERRANDO,  a  captain  of  the  guard  and  under  di  Luna Bass 

RUIZ,  a  soldier  in  Manrico's  service Tenor 

AN  OLD  GYPSY ...  Baritone 

Also  a  Messenger,  a  Jailer,  Soldiers,  Nuns,  Gypsies,  Attendants,  etc. 


Scene  and  Period:      Biscay  an J  Aragon  ;  fifteenth  century. 

ACT  I 

SCENE  I— Vestibule  in  Aliaferia  Palace 

As  befits  a  tragic  work,  //  Trovatore  opens  in  an  atmosphere  of  romance  and  mystery. 
The  retainers  of  Count  di  Luna  await  the  arrival  of  their  master,  and  to  beguile  the  time  Fer- 
rando  relates  the  history  of  the  Count's  childhood  and  the  loss  of  his  brother. 

Abbietta  zingara  (Swarthy  and  Threatening) 

By  Torres  de  Luna  and  La  Scala  Chorus        (In  Italian)     *6241b     lO-inch.  $O.75 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 


The  brother,  as  an  infant,  came  under  the  evil  eye  of  a  witch,  who  was  seized  and  con- 
demned to  the  stake.  This  witch  had  a  daughter,  who  determined  to  avenge  her  mother's 
fate,  with  the  result  that  the  Count's  younger  son  disappeared ;  and  after  the  witch's  burning 
there  was  discovered  upon  the  pile  of  charred  embers  the  bones  of  a  child.  This  story  is 
told  in  the  Abbietta  to  a  fierce  rhythmical  tune,  expressing  all  shades  of  horror. 

FERRANDO: 

With  two  sons,   heirs  of  fortune  and  affection, 

Liv'd  the   Count  in   enjoyment; 

Watching   the   younger   for    his   safe   protection 


rays    were 


younger 

A  good  nurse   found  employment. 
One    morning,    as    the    dawn's    first 

shining, 
From   her   pillow   she   rose,  — 
Who    was     found,     think    ye,     near     the     child 

reclining? 
(Impressively.) 

Sat  there   a   gypsy-hag,    witch-like   appearing; 
jrk      myste   ' 


dar 
babe 

:  upon 
srofoun 


lystenes,      strange 
sleeping — with     fie 


sy; 


is; 

nbols 

,ks 


THE    COUNT 


Of      her 

wearing. 
O'er     the 

bending, 
az'd  she 
Horror    profound     seized     the 

dark  vision; 

And  the   dark  intruder  was  soon   expelled. 
Soon  they  found  the  child  was  failing, 
Coming  darkness  appall'd  him, 
The    hag's    dark    spell    enthrall'd   him! 
(All  appear  horrified.) 

Sought  they  the   gypsy,   on  all   sides  turning, 
Seiz'd  and  condemn'd  her  to  death  by  burning. 
One  child,   accursed,   left  she   remaining, 
Quick   to  avenge   her,   no   means  disdaining. 
Thus  she  accomplished  her  dark  retribution! 

But  on  the  site  of  the  hag's  execution 
They  found,  'mid  the  embers, 
The  bones   of  a   young   infant, 
Half  consumed  and  burning! 
In  the  second  part  Ferrando  concludes  his  narrative,  which  is  mingled  with  the  comments 
of  the  listeners,  who  tell  of  the  reputed  appearance  of  the  witch  in  ghostly  shape. 

'  orlo  del  tetti  (As  a  Vampire  You  May  See  Her) 

By  Torres  de  Luna,  Bass,  and  La  Scala  Chorus  *  1665 5      lO-inch,  $O.75 

To  the  voice  of  the  narrator  is  added  the  awe-stricken  -whispers  of  the  chorus,  which 
afterwards  swell  into  a  cry 
of  fierce  denunciation.  The 
foreboding  bell  and  an  instru- 
mental diminuendo  complete 
the  picture,  which  makes  a 
fitting  conclusion  to  a  grue- 
some story. 

The  clock  strikes  twelve, 
and  with  cries  of  "Cursed  be 
the  \vitch  infernal !  "  the  retain- 
ers disperse. 


SCENE  II—  The  Gardens  of  the 

Palace 

The  fair  Leonora  now  ap- 
pears with  her  faithful  com- 
panion, Inez.  She  confides  to 
Inez  her  interest  in  the  un- 
known knight  whom  she  had 
first  seen  at  the  Tournament, 
and  sings  her  first  number. 

*  Double-Faced  Record—  For  title  of  opposite  ,iJe  «e  DOUBLE-FACED  IL  TROVA  TORE  RECORDS,  page  457. 

448 


VICTOR     BOOK     OF     THE      OPERA  — IL     TROVATORE 


Tacea  la  notte  placida  (My  Heart  is  His  Alone) 

By  Luisa  Tetrazzini,  Soprano  (In  Italian)       8842O     12-inch,  I3.0O 

By  Celestina  Boninsegna.  Soprano  (In  Italian)       92O26     12-inch,     3.OO 

By  Gina  Viafora,  Soprano  .      (In  Italian)        74116     12-inch,     1.5O 

By  Edith  Helena,  Soprano  (In  English)      *35214     12-inch,     1.25 

By  Lucia  Crestani,  Soprano  (In  Italian)     *16655     lO-inch,       .75 

In  this  wistful  air,  so  unlike  the  weird  music  preceding  it,  she  speaks  of  the  Troubadour 

who  serenades  her,  and  of  the  feelings  which  have  been  inspired  in  her  breast  by  his  song. 

LEONORA: 

How  calm,   how  placid,   was  the  night!  In   tones   so   sweet   and   thrilling, 

The  cloudless  sky,   how  clear,   how  bright!  Ureathing  to  Heav'n  an  earnest  pray'r, 

The  moon   in  splendor  shed   her  light.  My  heart  with  deep  joy  filling. 

And  all   was  hushed  in  peace  around!  I   heard  a   voice  oft  heard  before. 

Suddenly,   on  the   midnight   air,  My    long-loved    knightly    Troubadour! 

The  ladies  go  into  the  house  just  as  the  Count,  who  is  also  wooing  the  fair  Leonora,  ap- 
pears to  watch  under  her  window.  He  has  barely  taken  his  station  when  the  lovely  song 
of  the  Troubadour  is  heard : 

Deserto  sulla  terra  (Naught  on  Earth  is  Left  Me) 

By  Nicola  Zerola,  Tenor  (In  Italian)     64172     lO-inch,  $1.OO 

In  this  beautiful  serenade,  one  of  the  gems  of  the  opera,  the  Trouba- 
dour sings  of  his  lonely  life  and  the  one  hope  that  remains  to  him. 
MANRICO: 

Lonely   on   earth  abiding,  Rut  that  fond  treasure  gaining, 

Warring   'gainst   fate's  cruel   chiding,  In  faith  and  love  obtaining, 

Hope   doth   one  heart  implore,  High  o'er  all  kings  would  soar, 

To   love   the  Troubadour!  The  happy  Troubadour! 

The  Count  is  filled  with  rage  as  Manrico  appears  and  confesses  his 
love  in  song,  and  when  Leonora  comes  forth  to  greet  her  lover,  the  anger 
of  di  Luna  bursts  in  a  storm  upon  them  both,  in  the  strain  with  which 
this  number  opens. 

Di  geloso  amor  sprezzato   (Now  My  Vengeance) 

By  Antonio  Paoli,  Tenor;  Clara  Joanna,  Soprano:  Francesco 

Cigada.  Baritone  (In  Italian)       91082     lO-inch.  $2.00 

By  Maria  Bernacchi,  Soprano;  Luigi  Colazza.Tenor ;  Ernesto 

Caronna,  Baritone  (In  Italian)     *168O8     lO-inch,       .75 

Manrico  defies  him  and  they  agree  to  fight  to  the  death.  Leonora 
implores  her  lover  to  stay,  but  is  unable  to  restrain  the  jealous  passion 
which  inspires  the  rivals,  and  after  the  powerful  and  exciting  trio  they 
rush  out  with  drawn  swords,  while  Leonora  falls  senseless. 

ACT  II 

SCENE  I — A  Gypsy  Camp  in  the  Biscay  Mountains 

We  are  now  in  the  gypsy  encampment  at  early  morning,  as  the  shad- 
ows of  night  are  passing  away  before  the  dawn.     The  men  are  beginning 
ZEROLA  AS  MANRICO    work,  and  in  this,  the  famous  Anvil  Chorus,  they  hammer  as  they  sing. 

La  zingarella  (Anvil  Chorus) 

By  La  Scala  Chorus  (In  Italian)     *62418     10-inch.  $0.75 

By  Victor  Orchestra  17231      lO-inch,        .75 

By  Victor  Male  Chorus  (In  English)          1258     lO-inch,       .60 

The  swinging  tune  is  accompanied  by  the  ring  of  blows  on  the   anvil,  and   the  rough 

voices  of  the  men  and  the  sound  of  the  hammers  make  a  truly  impressive  musical  picture. 


CHORUS  OF  GYTSIES: 

See  how  the  shadows  of  night  are  flying! 
Morn     breaketh,     Heav'n's     glorious     arch     un- 
veiling: 

Like  a  young  widow,  who,  weary  of  sighing. 
Lays  by   her   garments   of  sorrow   and   wailing. 
Rouse  up,   to  labor! 
Take  each  his  hammer. 
MEN: 

Who    makes   the    gypsy's,    a   life    with    pleasure 
laden? 

•  DOUBLE-FACED  IL  TROVA  TORE  RECORDS,  page  457, 


WOMEN: 

Who   makes   the   gypsy's,   a   life   with   pleasure 

laden,  who? 
ALL: 

The  gypsy  maiden ! 

See   how   the   sunlight,    radiantly   glowing, 

Borrows  new  beams   from   our  wine   cups  o'er- 
flowing! 

Resume  our  labor!      Take  each  his  hammer! 

Who  makes  the  gypsy's  life,  etc. 


*Double-Faced Record—  Fortitle  of  opposite  side  ; 


419 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 

Azucena,  the  gypsy,  who  now  appears,  proves  to  be  none 
other  than  the  witch's  daughter  spoken  of  in  the  first  act.  In 
the  highly  dramatic  song  allotted  to  her  she  relates  to  Manrico 
the  dreadful  story  of  the  death  of  her  mother,  who  had  been 
burned  at  the  stake  as  a  witch  by  the  father  of  the  present 
Count  di  Luna. 

Stride  la  vampa  (Fierce  Flames  Are  Soaring) 

By  Louise  Homer,  Contralto 

(In  Italian)        87033      10-inch.  $2.0O 
By  Lina  Mileri,  Contralto 

(In  Italian)      *168O8      10-inch,        .75 

In  the  aria  she  mentally  lives  again  through  the  scene  of 
her  mother's  execution,  each  horrible  detail  of  which  is  indeli- 
bly imprinted  upon  her  memory. 

This  -wild  contralto  air  in  the  minor,  with  its  deep,  rich, 
and  ever-changing  tones,  is  well  suited  to  so  grim  a  recital. 

Upward    the    flames    roll;    the    crowd    presses 

fiercely  on,  HOMER  AS  AZUCENA 
Rush  to  the   burning  with   seeming  gladness; 

Loud  cries   of   pleasure   from   all   sides   re-echo-  Robed  in   dark  garments,  ungirt,  unsandat'd; 

ing!  Fierce  cries  of  vengeance  from  that  dark  crowd 

By  guards  surrounded — forth  comes  a  woman!  arise; 

While,   o'er  them  shining,   with   wild,   unearthly  Echo    repeats    them    from    mountain    to    moun- 

glare,  tain. 

Dark     wreaths     of     flame     curl,     ascending     to  O'er     them     reflecting,     with     wild,     unearthly 

heaven!  glare. 

Upward   the   flames    roll!    on    comes   the   victim  Dark     wreaths     of     flame     curl,     ascending     to 

still;  heaven! 

The  rendition  of  this  thrilling  air  by  Mme.  Homer  is  a  most  dramatic  and  impressive 
one ;  while  an  excellent  lower-priced  record  is  furnished  by  Mme.  Mileri. 

Questioned  by  Manrico,  Azucena  tells  him  the  story  of  her  past.  In  obedience  to  her 
mother's  last  cry  for  vengeance,  she  stole  the  Count's  young  child,  and  threw  it  on  the  flames 
where  her  mother  was  consumed.  But  she  soon  discovered  that  in  her  frenzy  she  had 
destroyed  her  own  infant,  and  preserved  the  child  of  the  noble.  Wild  as  was  the  previous 
air,  this  proves  a  still  more  dramatic  setting  of  the  conclusion  of  the  story.  The  orchestral 
accompaniment  crashes,  wails  and  sobs,  the  voice  rises  and  falls  in  hatred  or  terror, 
until  at  last  the  gypsy  sinks  exhausted  with  the  stress  of  emotion  that  her  tale  has  excited. 

Condotta  ell'era  in  ceppi  (In  Chains  to  Her  Doom  They  Dragged 
Her) 

By  Lina  Mileri,  Contralto  (In  Italian)     *35176     12-inch.  $1.25 

The  story  has  set  Manrico  thinking.      "  If  your  son  perished,"  he  asks,  "  whose  child  am 

I  ?"     But  the  gypsy,  with  a  born  instinct  for  dissimulation,  avoids  the  question,  still  claiming 

him  as  her  son.     She  reminds  him  of  the  almost  fatal  wounds  received  in  an  attack  from  the 

Count  di  Luna  and  his  men,  from  which  she  had  nursed  him  back  to  life. 

AZUCENA: 

To  me  thy  life's  protection  thou'owest. 
At  midnight,  on  the  field  of  battle 
My  cares  revived  the  vital  spark 
Many  hours  did  I  tend  thee,  healing  thy  wounds, 
So  ghastly  and  numerous! 

Mai  reggendo  all'aspro  assalto  (At  My  Mercy  Lay  the  Foe) 

By  Louise  Homer  and  Enrico  Caruso  (In  Italian)        89O49      12-inch,  $4.OO 

By  Clotilde  Esposito  and  Luigi  Colazza          (In  Italian)     *1655O     10-inch.       .75 

In  the  opening  strain  of  this  air,  Manrico  tells  of  his  single  combat  with  the  Count,  in  which 
by  an  irresistible  impulse,  after  felling  his  antagonist  to  earth,  he  spared  the  noble's  life. 
The  voice  of  the  gypsy  then  bids  him  never  again  to  allow  their  enemy  to  escape,  but  to 
unhesitatingly  administer  the  death-blow.  Manrico's  story  of  the  duel  is  expressed  by  a 

*  Double-Faced  Record— For  title  of  opposite  side  see  list  on  pages  456  and  457. 

450 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 


bold  martial  air,  the  gypsy's 
incitements  to  vengeance  be- 
ing heard  at  the  same  time, 
leading  to  the  vigorous  climax 
of  the  duet. 

SCENE  II—  The  Cloister,  of  a 

Concent 

In  this  scene  we  return 
to  the  fortunes  of  the  Count 
and  Leonora.  She,  believing 
the  Troubadour  to  have  been 
killed,  presumably  in  a  recent 
duel  with  his  rival,  has  deter- 
mined to  enter  a  convent.  Di 
Luna  appears  in  front  of  the 
convent  with  the  intention  of 
carrying  her  away  before  the 
ceremony  shall  have  taken 
place,  and  sings  his  famous 
air,  "  11  balen." 

II  balen  del  suo  sorriso     (The  Tempest  of  the  Heart) 

By  Emilio  de  Gogorza.  Baritone  (In  Italian)       88175      12-inch,  $3.OO 

By  Francesco  Cigada,  Baritone  (In  Italian)      *16812      10-inch,        .75 

By  Alan  Turner,  Baritone  (In  English)     *16521      10-inch,       .75 

This  solo  almost  wins  the  Count  our  sympathy,  in  spite  of  ourselves,  so  genuine  and  heart- 
felt an  expression  of  the  tender  passion  it  is. 

COUNT: 

Of   her   smile,   the   radiant   gleaming 

Pales   the   starlight's   brightest   reflection, 
While  her  face  with  beauty  beaming, 

Brings  me  fresh  ardor,  lends  to  my  affection. 

The  convent  bell  is  heard  tolling  as  a  signal  for  the  final  rites  which  make  Leonora  a 
nun.  4The  Count,  in  a  burst  of  passion,  declares  they  must  seize  her  before  she  reaches  the 
altar. 

Per  me  ora  fatale  (This  Passion  That  Inspires  Me) 

By  Ernesto  Caronna,  Baritone,  and  La  Scala  Chorus 

(In  Italian)     *16814      lO-inch.  $O.75 
This  declaration  is  expressed  in  a  vigorous  air. 

COUNT   (furiously) : 

Oh,  hour  of  fate  to  me, 
Hasten    thy    lagging   moments, 
that    I    anticipate 


Ah!   this  love  within  me  burning, 

More  than   words  shall   plead   on   my   part, 
Her  bright  glances  on   me  turning, 

Calm  the  tempest  in  my  heart! 


Ine   joy 

Is   of  more   than   mortal    worth! 

They  conceal  themselves  among  the  trees  as  the  chant  of  the  nuns  is  heard. 


No   rival  can  I  have; 

For  me   hath   fate   designed  he: 
And  to  me  she  shall  belong! 


Ah  !  se  Terror  t'ingombra  ('Mid  the  Shades  of  Error) 

By  Francesco  Cigada,  Baritone,  and  La  Scala  Chorus 

(In  Italian)     *1655O      10-inch,  $0.75 

They  sing  of  the  coming  retirement  of  Leonora  from  the  world,  while  from  their  place 
of  concealment  the  Count  and  his  retainers  speak  of  their  coming  triumph. 

CHORUS  OF  NUNS: 

Ah!   when  the  shades  of  night,  Come,   then,   and   let   this   mystic  veil 

Oh,  daughter  of  Eve,  shall  close  on  thee,  From   human  eye  enshroud  thee; 

Then    wilt   thou    know   that   life  Hence  let  care  and   worldly  thought 

Is  but   a   shadow,   a   fleeting   dream; —  For  evermore  be  banish'd. 

Yes,  like  the  passing  of  a  shadow  To  Heaven  now  turn  thee,  and  Heaven 

Are  all  our  earthly  hopes!  Will  open  to  receive  thee! 

~  *  Doubk-FaceJ  Record—  For  title  of  opposite  ,iJe  **  DOUBLE-FACED  IL  TROVATORE  RECORDS,  t>age457. 


VICTOR     BOOK     OF      THE      OPERA  — IL     TROVATORE 


MiTIN     AS     MANRICO 


COVNT: 

Triumphant  hour  impending. 

Thy  moments  urge   with   speed  elating, 

The  joy  my  heart's  awaiting, 

Is  not  of  mortal  birth, 

In  vain  doth  Heaven,  contending 

With  rival  claims,   oppose  me. 

If  once  these  arms  enclose   thee, 

No  power  in  heav'n  or  earth. 

No  pow'r  shall  tear  thee  from  me! 
FERRANDO  AND  RETAINERS: 

How   bold!      Let's   go — conceal    ourselves 

Amid  the  shades  in  haste. 

How  bold ! — Come   on — and   silence  keep. 

The  prize  he  soon  will  hold! 

As  the  nuns  appear,  conducting  the  penitent,  the  Count's 
retainers  rush  out  and  seize  Leonora. 

The  calculations  of  di  Luna  are  once  more  upset,  for  just  as 
he  interrupts  the  ceremony,  Manrico  unexpectedly  appears. 
Leonora,  overjoyed  to  find  her  lover  still  living,  begins  che  great  trio. 

E  deggio  e  posso  crederlo     (Blessed  Vision) 

By  Grisi,  Sangiorgi,   Cigada  and  Chorus 

(In  Italian)      *35176      12-inch.  $1.25 

Leonora  foregoes  her  religious  vows,  and  the  lovers,  for  the 
time  united,  make  their  escape,  to  the  chagrin  of  the  baffled 
Count,  while  his  men  are  defeated  by  Manrico' 's  followers. 

ACT  III 

SCENE  I—  The  Camp  of  di  Luna 

Squilli  echeggi  la  tromba  (Soldiers'  Chorus) 

By  New  York  Grand  Opera  Chorus  (In  Italian)     6405 O     10-inch,  $1.OO 

Act  III  opens  with  the  chorus  of  di  Luna's  men — called  the  Soldiers'  Chorus.      In  spite  of 

the  wealth  of  melody  already  heard  in  this  •work,  here  is  yet  another  marvelous  number, 

•which  •works  up  to  a  powerful  climax,  and  then  dies  away  softly,  as  these  Trovatore  choruses 

so  frequently  do. 

SOLDIERS:  Ne'er   more   brilliant   were   prospects   victorious 

Now  let  the  trumpet   in  war  tones  resounding.         Than  the  hopes  which  our  hearts  now  elate. 
Call    to   arms,    with   courage   bold,    we'll    march         Thence,    we'll    gather    renown,    bright    and   glo- 

Haply.  to-morrow,   our  proud  foes  confounding         Pleasure,  honor  and  profit  there  await  us. 
On  those  walls  shall  our  banners  be  planted.  Honor  and  booty  for  us  there  await. 

Giorni  poveri  vivea  (In  Despair  I  Seek  My  Son) 

By  Ida  Mamelli,  Soprano :  Renzo  Minolfi,  Baritone :  Cesare  Preve, 

Baritone:     La  Scala  Chorus  (In  Italian)     *35177     12-inch,  $1.25 

A  scouting  party  from  the  Count's  troops  have  fallen  in  •with  Azucena,  and  now  bring 
her  to  the  Count  as  a  possible  spy.  Inquiries  as  to  her  past  immediately  connect  her  with 
the  episode  of  the  Count's  childhood,  and  Ferrando  declares  her  to  be  the  murderess  of 
di  Luna 's  lost  brother.  Azucena  in  her  extremity,  cries  out  the  name  of  Manrico,  and  the  Count, 
finding  she  claims  the  Troubadour  as  her  son,  vows  upon  her  a  double  vengeance,  and  she  is 
bound  and  dragged  away.  The  gypsy's  pleading,  the  Count's  threatening  anger  and  triumph, 
with  the  accompanying  chorus,  combine  to  make  a  moving  and  dramatic  ensemble. 

SCENE  II— Manrico's  Castle 

The  scene  changes  to  the  castle  wherein  Manrico  and  Leonora  are  at  last  enjoying  a  brief 
honeymoon,  though  in  expectation  of  an  attack  from  the  baffled  Count  di  Luna.  Here  Man- 
rico sings  a  tender  and  affectionate  farewell  to  his  beloved  ere  he  departs  to  repel  his  rival's 
assault. 

Ah,  si  ben  mio  (The  Vows  We  Fondly  Plighted) 

By  Enrico  Caruso,  Tenor  (In  Italian)        88121      12-inch,  $3.OO 

By  Giorgio  Malesci.  Tenor  (In  Italian)     *168O9     lO-inch,       .75 

*  Doublc-Faced  Record— For  title  of  opposite  side  see  list  on  pages  456  and  457. 


VICTOR     BOOK     OF     THE     OPERA  — IL     TROVATORE 


This  beautiful  lyrical  number  is  a  delightful  relief  after  so 
much  that  is  forcible  and  dramatic. 

MANKICO: 

'Tis  love,   sublime   emotion,   at  such  a  moment 

Bids  thy  heart  still  be  hopeful. 

Ah!  love;  how  blest  our  life  will  be 

Our  fond  desires  attaining, 

My  soul  shall  win  fresh  ardor, 

My  arm  new  courage  gaining. 

But,  if,  upon  the  fatal  page 

Of    destiny    impending, 

I'm  doom'd  among  the  slain  to  fall, 

'Gainst  hostile  arms  contending, 

In   life's  last   hour,   with   fainting  breath, 

My  thoughts  will  turn  to  thee. 

Preceding  thee  to  Heaven,  will  death 

Alone  appear  to  me! 

Quietness  soon  departs,  for  the  news  comes  that  the  attacking 
party  have  captured  Azucena,  and  are  piling  up  faggots  around 
the  stake  at  which  she  is  to  be  burnt.  Maddened  at  the  approach- 
ing  outrage  upon  one  whom  he  believes  to  be  his  mother.  Manrico 
prepares  to  rush  to  her  assistance.  The  air  with  chorus  which 
forms  the  climax  to  this  scene  is  full  of  martial  fire. 


Di  quella  pira  (Tremble  Ye  Tyrants) 

By  Francesco  Tamagno.  Tenor 

(In  Italian)       95OO6 

By  Antonio  Paoli.  Tenor,  and  La  Scala 
Chorus  In  Italian)       92O32 

By  Enrico  Caruso.  Tenor  (In  Italian)        87OO1 

By  Nicola  Zerola.  Tenor  (In  Italian)       6417O 

By  Giovanni  Vails.  Tenor,  and  La  Scala  Chorus 

(In  Italian)     -16809 


lO-inch.  S5.OO 

12-inch,  3.00 
lO-inch.  2.OO 
10-inch,  l.OO 


lO-inch,        .75 

It  is  led  up  to  by  a  very  powerful  introductory  passage,  and  the  high  notes  at  the  end. 
delivered  in  robust  tones,  never  fail  of  their  effect. 


MANRICO: 

Ah  !  sight  of  horror  !     See  that  pile  blazing- 
Demons  of  fury  round  it  stand  gazing! 
Madness  inspiring.  Hate  now  is  raging  — 
Tremble,  for  vengeance  on  you  shall  fall. 


Oh!  mother  dearest,  though  love  may  claim  me. 
Danger,  too,  threaten,  yet  will  I  save  thee; 
From  flames  consuming  thy  form  shall  snatch'd  be. 
Or  with  thee,  mother,  I  too  will  fall! 


Caruso's  singing  of  this  number  is  absolutely  electrifying  in  its  effect  on  the  listener, 
the  two  famous  high  C's  being  easily  taken  and  with  the  full  power  of  his  great  voice. 

Tamagno's  Manrico  was  a 
figure  of  noble  proportions, 
and  he  endowed  it  with  all  his 
splendid  vitality.  Such  a  high 
C  had  never  before  been 
heard,  and  it  electrified  the 
audiences.  The  record  of  Di 
quella  pira  is  a  faithful  repro- 
duction of  the  great  singer's 
rendition  of  the  famous  aria. 
Paoli,  the  famous  Milan 
tenor,  also  gives  a  vigorous 
performance  of  this  great 
air. 

Other  fine  renditions,  at  a 
lower  price,  are  given  by 
Zerola  and  by  Signer  Vails, 
assisted  by  La  Scala  Chorus. 


'  Double-Faced  Record—  For  Kile  ofoppoiite  side  : 


S     OF     ALIAFEXIA ACT 


•  DOUBLE-FACED  IL  TROVATORE  RECORDS., 
453 


,457. 


VICTOR     BOOK     OF     THE     OPERA  —  IL     TROVATORE 

ACT  IV 

SCENE  I—  Exterior  of  the  Palace  of  Aliaferia 

The  last  act  brings  us  outside  the  palace  of  Aliaferia,  wherein  Manrico,  defeated  by 
di  Luna's  men,  and  the  gyspy,  are  confined  in  the  dungeons.  Hither  Leonora  has  wended  her 
•way  to  be  near  her  lover,  and  she  now  sings  the  plaintive  D'amor. 


D'amor  sull*  ali  rosee  (Love,  Fly  on  Rosy  Pinions) 

By  Luisa  Tetrazzini,  Soprano  (In  Italian)      88426      12-inch,  $3.00 

By  Johanna  Gadski,  Soprano  (In  Italian)     88379     12-inch,     3.OO 

By  Lucia  Crestani,  Soprano  (In  Italian)    *1681O     10-inch,       .75 

This  sad  but  melodious  air  reveals  her  heartfelt  grief  for  the  sorrows  which  she  cannot 

relieve. 


LEONORA: 

In  this  dark  hour  of  midnight 
I   hover   round   thee,   my   love! 
Ye   moaning   breezes   round   me    playing, 
In  pity  aid  me,  my  sighs  to  him  conveying! 
On  rosy  wings  of  love  depart, 
Kearing  my  heart's  sad  wailing, 
lonely   cell, 


Kearing  my  1 
Visit  the  pri; 
And  now  comes  Verdi's  most  famous  operatic  scene,  the  great  Miserere. 


Console  his  spirit  failing. 

Let  hope's  soft  whispers  wreathing 

Around  him,  comfort  breathing, 

Recall  19  his  fond  remembrance 

Sweet  visions  of  his  love; 

Rut,  let  no  accent  reveal  to  him 

The  sorrows,  the  griefs  my  heart  doth 


Miserere  (I  Have  Sighed  to  Rest  Me) 

By  Enrico  Caruso,  Tenor;  Frances  Alda,  Soprano; 

Chorus  of  the  Metropolitan  Opera  (In  Italian) 

By  Ida  Giacomelli,  Soprano  ;  Gino  Martinez-Patti, 

Tenor ;  La  Scala  Chorus  (In  Italian) 

By  Elise  Stevenson,  Soprano;  Harry  Macdonough, 

Tenor;  Victor  Male  Chorus  (In  English) 

By  Stevenson,  Macdonough  and  Chorus  (In  English) 
By  Arthur  Pry  or  and  Emile  Keneke  (Trombone- Cornet) 
By  Walter  Rogers  and  Arthur  Pryor  (Cornet-  Trombone) 


89030      12-inch,   $4.OO 
12-inch, 


58366 

31703 
*16013 
*16371 
*16794 


12-inch, 
lO-inch, 
10-inch, 
lO-inch, 


1.00 

1.00 
.75 
.75 
.75 


Leonora  is  terror-stricken  at  the  solemn  tolling  of  a  deep-toned  bell  and  the  mournful 
:horus  of  priests  chanting  for  the  soul  of  a  doomed  prisoner. 

PRIESTS: 

Pray   that   peace   may   attend   a   soul   departing, 
Whither    no    care    or    thought    of    earth    can 

follow; 

Heav'nly  mercy  allays  the  pangs   of  parting, 
Look  up  beyond  this  life's  delusions   hollow. 

Then  follows  an  impressive  series  of  chords  in  the 
orchestra,  leading  to  a  sobbing  lament  of  Leonora. 

LEONORA: 

What    voices    of    terror!      For    whom    are    they 

With    omens   of   fear   unknown,    they    darken 

the  air, 

New  horrors  assail  me,  my  senses  are  straying, 
My  vision  is  dim,  is  it  death  that  is  near? 

In  upon  this  there  breaks  the  beautiful  air  of  the 
Troubadour,  sung  within  the  prison,  followed  by  a  joyful 
cry  of  devotion  from  his  beloved. 

MANRICO: 

Ah!    I    have    sighed   to    rest    me;    deep    in    the 

quiet  grave — 
CAMPANINI   AS   MANRICO  Sighed  to  rest  me,  but  all  in  vain  I  crave. 

Oh  fare  thee  well,  my  Leonora,  fare  thee  well! 

These  fragments,  first  given  separately,  are  next  combined  and  heard  together,  forming 
a  most  impressive  scene  of  touching  beauty,  for  which  the  opera  of  //  Trovatore  will  ever  be 
remembered. 

*  Doubk-Faced  Record— For  title  of  opposite  side  see  DOUBLE-FA  CED  IL  TROVA  TORE  RECORDS,  page  457. 

454 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 

The  entrance  of  di  Luna  brings  from  Leonora  a  prayer  for  mercy  for  the  prisoner.  The 
appeal  is  unheeded,  or  rather  it  appears  to  increase  the  triumph  which  belongs  to  the  Count's 
vengeance.  The  appeal  of  the  unhappy  woman  and  the  fierce  joy  of  the  gratified  noble  are 
powerfully  expressed  in  this  magnificent  duet. 

Mira  d'acerbe  lagrime  (Oh,  Let  My  Tears  Implore  Thee) 

By  Johanna  Gadski,  Soprano,  and  Pasquale  Amato,  Baritone 

(In  Italian)       89069      12-inch,  $4.0O 

By  Emma  Eames.  Soprano,  and  Emilio  de  Gogorza,  Baritone 

(In  Italian)        89O22      12-inch.     4.OO 

By  Celestina  Boninsegna,  Soprano,  and  Francesco  Cigada,  Baritone 

(In  Italian)        91077      10-inch.     2.OO 

By  Maria  Bernacchi  and  Ernesto  Caronna      (In  Italian)     *16810     lO-inch,       .75 

In  the  extremity  of  despair,  Leonora  makes  one  last  effort.  If  the  Count  will  spare  the 
one  she  loves,  she  will  consent  to  become  Ji  Luna 's  wife.  She  swears  to  perform  her 
promise,  at  the  same  time  intending  to  take  poison  as  soon  as  Manrico  is  free.  Di  Luna's 
wrath  is  now  changed  into  joy,  while  Leonora,  forgetting  her  own  fate,  is  filled  with  happiness 
at  the  thought  of  the  Troubadour's  release.  This  situation  gives  opportunity  for  another 
wonderful  duet  of  a  most  thrilling  character. 

Vivra !  Contende  il  giubilo  (Oh,  Joy,  He's  Saved) 

By  Johanna  Gadski,  Soprano,  and  Pasquale  Amato,  Baritone 

(In  Italian)       89O7O  12-inch,  $4,OO 

By  Boninsegna  and  Cigada  (In  Italian)       91071  lO-inch,     2.OO 

By  de  Angelis  and  Cigada  (In  Italian)     *16811  lO-inch.       .75 

In  this  number  the  Count  expresses  his  rapture  at  the  success  of  his  conquest,  while 
Leonora  exclaims,  aside:  "Thou  shall  possess  but  a  lifeless  bride."  As  the  scene  changes 
they  enter  the  tower  to  secure  the  release  of  Manrico. 

SCENE  II—  The  Prison  Cell  of  Manrico 

Yet  a  third  duet — the  famous  Home  to  Our  Mountains.  The  scene  has  changed  to  the 
prison  interior,  where  Azucena  and  Manrico  are  together,  and  the  gypsy,  with  the  second, 
sight  of  her  race,  predicts  her  approaching  end. 

Ai  nostri  monti  (Home  to  Our  Mountains) 

By  Louise  Homer  and  Enrico  Caruso              (In  Italian)  89018  12-inch,  $4.OO 

By  Schumann-Heink  and  Caruso                    (In  Italian)  89O6O  12-inch,  4.OO 

By  Morgan  and  Macdonough                            (In  English)  *35118  12-inch,  1.25 

By  Vessella's  Italian  Band  *35239  12-inch,  1.25 

By  Morgan  and  Macdonough                            (In  English)  31555  12-inch,  l.OO 
By  Clotilde  Esposito.  Soprano,  and  Luigi  Colazza,  Tenor 

(In  Italian)  *16811  lO-inch,  .75 

By  Morgan  and  Macdonough                            (In  English)  *16407  lO-inch,  .75 

This  familiar  duet  is  considered  by  many  to  be  the  gem  of  Verdi's  opera,  and  when 
given  by  such  artists  as  the  Victor  offers,  it  is  doubly  enjoyable. 

Manrico  is  -watching  over  the  couch  of  Azucena,  whose  strength  is  exhausted,  and  who 
is  full  of  vague  terrors ;  and  he  endeavors  to  soothe  her  fears. 

MANRICO:  AZUCENA: 

If  any  love  remains  in  thy  bosom,  Yes,   I   am  grief-worn  and  fain  would  rest  me, 

If  thou  art  yet  my  mother,  oh,  hear  me!  But      more      than      grief      have      sad     dreams 

Seek  thy  terrors  to  number,  oppressed  me; 

And    gain  repose  from  thy  sorrows  in  soothing         Should  that  dread  vision   rise  in   slumber 
slumber.  Rouse  me!   its  horrors  may  then  depart. 

MANRICO: 

Rest  thee,  oh  mother!     I'll  watch  o'er  thee, 
Sleep  may  restore  sweet  peace  to  thy  heart. 

A  fierce  and  avenging  gypsy  no  longer,  but  a  broken  woman  whose  consuming  passions 
of  remorse  and  revenge  have  died  away,  she  dreams  of  the  happy  days  gone  by. 

*  Doublc-FaceJ  Record— For  title  of  opposite  side  see  list  on    pa-«J  456  and  457. 

455 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 

AZUCENA   (dreaming)  :     Home  to  our  mountains,   let  us  return,  love, 

There   in   thy  young  days  peace   had  its   reign: 
There   shall   thy   song   fall   on   my   slumbers, 
There  shall  thy  lute,   make  me  joyous  again. 
MANRICO:     Rest   thee,   my   mother,   kneeling  beside   thee, 

I  will  pour  forth  my  troubadour  lay. 
AZUCENA:    O    sing    and    wake    now    thy    sweet    lute's    soft 

numbers. 
Lull  me  to  rest,  charm  my  sorrows  away. 

BOTH:     Lull  j  tjlee  j  to  rest! 

Matters  now  move  swiftly  to  a  climax.  Leonora  arrives  on  the  scene,  bringing  Manrico 
the  news  of  his  freedom.  The  joy  of  meeting  is  all  too  soon  destroyed  when  the  prisoner 
finds  his  liberty  to  have  been  purchased  at  the  cost  of  a  happiness  which  is  to  him  dearer 
than  life  itself.  He  accuses  Leonora  of  betraying  his  love. 

Ha  quest'  infame    (Thou  Hast  Sold  Thyself) 

By  Ida  Giacotnelli,  Soprano;  Lina  Mileri,  Contralto;  Gino 

Martinez-Patti,  Tenor  (In  Italian)     *35177     12-inch,  $1.25 

Here  Azucena,  •who  cares  nothing  for  his  passion,  counsels  flight.  This  gives  the  ele- 
ments of  the  closing  trio  :  Manrico 's  reproaches,  Leonora 's  ineffectual  protestations,  and  the 
gypsy's  voice  through  all,  singing  dreamily  of  her  mountain  home.  With  these  mingled 
voices  dying  away  into  soft  peaceful  harmonies  the  musical  portion  of  the  opera  draws  to  a 
close. 

MANRICO: 

Thou  giv'st  me  life?     No!      I   scorn  it!  'Twas     from     my     rival     thou     purchased     thy 

bought  it?  Ah!    thou   hast   sold    him   thy   heart's   affection! 

Thou   wilt   not   speak?   oh,   dark   suspicion!  Barter'd  a   love  once  devoted  to   me! 

Leonora,  who  had  already  taken  the  poison,  now  sinks  dying  at  Manrico 's  feet,  and  he 
pleads  forgiveness  as  he  learns  the  truth.  Di  Luna  now  enters,  and  furious  at  finding  him- 
self cheated  of  his  promised  bride,  orders  the  Troubadour  to  instant  execution.  Manrico  is 
taken  out  by  the  guards  and  beheaded. 

At  the  moment  of  his  death,  the  gypsy  awakes,  and  not  seeing  Manrico,  realizes  that 
he  has  gone  to  his  execution.  She  drags  the  Count  to  the  window  and  cries  to  him:  "You 
have  killed  your  brother  !"  Di  Luna  utters  a  wild  cry  of  remorse  and  falls  senseless  as  the 
curtain  slowly  descends. 

DOUBLE-FACED  AND  MISCELLANEOUS  TROVATORE  RECORDS 
Gems  from  "Trovatore" 

•'Soldiers'  Chorus" — Solo,  "Tremble,  Ye  Tyrants"  (Di  quella  pira) — Solo, 
"Tempest  of  the  Heart"  (//  balen) — Duet,  "Home  to  Our  Mountains" — Solo, 
"  I  Have  Sigh'd  to  Rest  Me  "—Ensemble,  "  Miserere  " 

By  Victor  Opera  Company     (In  English)   31888      12-inch,  $1.25 
Condotta  ell'era  in  ceppi  (In  Chains  to  Her  Doom)  1 

By  Lina  Mileri,  Contralto     (7n /teftan)! <.-._,      10   .     i       ,  />< 
E  deggio  e  posso  crederlo   (Oh,  Blessed  Vision)  >35176     12-inch.     1.25 

By  Grisi,  Sangiorgi,  Cigada  and  Chorus     (In  Italian)} 
Giorni  poveri  vivea     (In  Despair  I  Seek  My  Son)         By 
Ida  Mamelli,  Soprano;   Renzo  Minolfi,  Baritone;  Ce 


Preve,  Baritone ;  La  Scala  Chorus  (In  Italian) 

Ha  quest'  infame  (Ah,  Thou  Hast  Sold  Thyself)  By 
Ida  Giacomelli,  Soprano;  Lina  Mileri,  Contralto;  Gino 
Martinez-Patti,  Tenor  (In  Italian) 


35177     12-inch.     1.25 


(Home  to  Our  Mountains  By  Morgan  and  Macdonough)  „,  ,  ,  Q  10   .     ,  .  _- 

\     Huguenots— Selection,  Act IV  By  Sousa's  Bam//35  12-inch,  1.25 

rrovatore  Selection  By  Arthur  Pry or's  Band!--,.-.-  ,^    .     ,  .  ,* 

Traviala  Selection  By  Arthur  Pryor's  Barn//35076  12-'nch'  1'25 


'  Double-Faced  Record— For  title  of  opposite  side  see  above  list. 


VICTOR     BOOK     OF     THE     OPERA— IL     TROVATORE 


{Tacea  la  notte  (Peaceful  "Was  the  Night)     By  Edith  | 

Helena,  Soprano  (In  English)  [35214 

Lucia — Mad  Scene     $y  Edith  Helena,  Soprano  (In  English) } 

(Home  to  Our  Mountains  By  Vessella's  Italian  Band). 


By  Kryl's  Bohemian 


35239 


Victor  Orchestral 

(Descriptive  piece  with  anvil  [  172 31 

Arthur  Pryor 's  Band} 


16812 


16521 


Rigoletto— Quartet     ( Verdi) 
Anvil  Chorus 

Forge  in  the  Forest     (Michaelis) 

effects) 
Abbietta  zingara  (Swarthy  and  Threatening)        By  Torres 

de  Luna,  Bass,  and  La  Scala  Chorus  (In  Italian) 

Sull'  orlo  dei  tetti    (As  a  Vampire  You  May  See  Her) 

By  Torres  de  Luna  and  La  Scala  Chorus  (In  Italian) 
i  Sull'  orlo  dei  tetti  de  Luna  and  La  Scala  Chorus  (In  Italian)  I 
< Tacea  la  notte  placida  (My  Heart  is  His  Alone)  1 16655 

By  Lucia  Crestani,  Soprano     (In  Italian)} 

(Di  geloso  amor  sprezzato     (Now  My  Vengeance)  ] 

By   Bernacchi,  Colazza  and  Caronna      (In  Italian) 
|  Stride  la  vampa  (Fierce  Flames  Are  Soaring) 

By  Lina  Mileri,  Contralto     (In  Italian) 
Mai  reggendo   all'aspro  assalto     (At  My  Mercy  Lay   the 

Foe)          By  Clotilde  Esposito  and  Luigi  Colazza    (In  Italian) 
Ah !  se  le  error  t'  ingombra     ('Mid  the  Shades  of  Error) 

By  Francesco  Cigada  and  Chorus     (In  Italian] 
II  balen  del  suo  sorriso     (The  Tempest  of  the  Heart) 

By  Francesco  Cigada,  Baritone     (In  Italian) 
Martha — Porter  Song  By  Carlos  Francisco     (In  Italian) 

Tempest  of  the  Heart  By  Alan  Turner     (In  English) 

Carmen — Toreador  Song  By  Alan  Turner     (In  English) 

Per  me  ora  fatale     (This  Passion  That  Inspires  Me) 

By  Ernesto  Caronna,  Baritone     (In  Italian)  ^16814 
Pagliacci — Opening  Chorus,  Son  qua    La  Scala  Chorus     (In  Italian) 
Ah,  si  ben  mio    (The  Vows  "We  Fondly  Plighted)  1 

By  Georgio  Malesci,  Tenor     (In  Italian)  \ 

Di    quella    pira     (Tremble   Ye   Tyrants)         By   Giovanni     I 
Vals,  Tenor,  and  La  Scala  Chorus  (In  Italian)} 

D'amor  sull  ali  rosee     (Love,  Fly  on  Rosy  Pinions) 

By  Lucia  Crestani,  Soprano     (In  Italian) 
Mira  d'acerbi  lagrime  (Oh.  Let  My  Tears  Implore  Thee) 

By  Maria  Bernacchi  and  Ernesto  Caronna     (In  Italian) 
JMiserere  By  Stevenson  and  Macdonough     (In  English) 

\     I  Would  That  My  Love  By  Stevenson  and  Macdonough 

JMiserere  By  Pryor  and  Keneke     (Trombone-Cornet) 

\     Spring  Song     (Mendelssohn)  By  Victor  String  Quartet 

JMiserere  By  Rogers  and  Pryor     (Cornet- Trombone)} . ,  _g  . 

\     Chant  sans  paroles     (Tschai^owsky)  By  Vienna  String  Quartet J 

IVivra!  contende  il  giubilo       (Oh,  Joy,  He's  Saved)  ] 

By  Angela  de  Angelis  and  Francesco  Cigada     (In  Italian) 
Ai  nostri  monti  (Home  to  Our  Mountains)         By  Clotilde 
Esposito,  Soprano,  and  Luigi  Colazza,  Tenor     (In  Italian)} 
Home  to  Our  Mountains       By  Corinne  Morgan, 

Contralto,  and  Harry  Macdonough,  Tenor        (In  English)  >164O7 
Bohemian  Girl— Heart  Bow'd  Dov>n     By  Alan  Turner     (In  English) } 
Di  geloso  amor  sprezzato      (Now  My  Vengeance)  ] 

By  Maria  Bernacchi,  Soprano;    Luigi    Colazza,   Tenor; 

and  Ernesto  Caronna,  Baritone  (In  Italian) 

La  zingarella     (Anvil  Chorus)     La  Scala  Chorus      (In  Italian) 

457 


12-inch,  $1.25 
12-inch,  1.25 
10-inch,  .75 


62416  lO-inch,   .75 


10-inch.   .75 


16808  10-inch.   .75 


1655O  10-inch,   .75 


16371 


10-inch,  .75 
10-inch,  .75 
10-inch,  .75 


16809  10-inch,  .75 

16810  10-inch.  .75 

10-inch,  .75 

10-inch.  .75 

10-inch,  .75 

lO-inch.  .75 

10-inch,  .75 

62418  lO-inch.  .75 


THE  TRUMPETER  OF  SACKINGEN 

OPERA  IN  THREE  ACTS  AND  A  PROLOGUE 

Text  by  B.  Bunge  ;  music  by  Vic- 
tor Nessler.  First  production  Leip- 
sic,  1884.  Presented  at  the  Metropol- 
itan Opera  House,  New  York,  1887, 
with  Robinson  and  Fischer,  and  re- 
vived there  in  1889. 


Characters 

THE  BARON  VON  SCHONAU  . . .  Bass 

MARIA,  his  daughter Soprano 

COUNT  WlLDENSTEIN Bass 

COUNTESS  WILDENSTEIN  .  .Contralto 

DAMIAN,  son  of  the  Count Tenor 

WERNER  KIRCHOFER Baritone 

KONRADIN,  foot  soldier Bass 


Time  and  Place  :     Heidelberg   and 
kjngen ;  seventeenth  century. 


WERNER    THE    TRUMPETER    AND    MARGARET    VON 


Nessler  has  taken  Scheffel's  poem 
and  built  the  charming  little  metrical 
romance  into  an  operatic  production. 
The  story  tells  of  a  young  student  of 
Heidelberg,  Werner  Kirchofer,  who, 
with  his  comrades,  is  banished  from 
the  university  for  serenading  an  Eng- 
lish princess.  The  youths  join  the 

army,  and  in  due  time  Werner  reaches  the  town  of  Sakkingen, 

where  the  peasants  are  on  the  eve  of  an  uprising  against  the 

nobles.     He  manages  to  protect  the  Countess  of  Wildenstein 

and  her  niece,  Maria,  from  the  insults  of  the  rabble,  and 

later  becomes  trumpeter  in  the  castle  of  Maria's  father,  the 

Baron  von  Schonau.     Werner  and  Mafia  fall  in  love  with  each 

other,  but  it  has  already  been  planned  that  the  young  girl 

shall  marry  Damian,  the  son  of  the  Count  of  Wildenstein,  who 

is  expected   at   the  castle  shortly.     The   Countess  surprises 

Werner  making  love  to  Maria,  and  the  Baron  angrily  orders 

the  bugler  from  the  castle.     As   Werner  is  departing,   the 

Hauenstein  peasants  rebel  against  the  Baron  and  attack  the 

castle.  The  trumpeter,  gathering  the  besieged  forces  to- 
gether, succeeds  in  driving  off  the  assailants.  In  the  mean- 
time, Damian  and  his  father  have  arrived,  and  during  the  con- 
flict the  young  man  shows  himself  to  be  a  coward.  Count 

Wildenstein  happily  recognizes  Werner  as  his  long  lost  son, 

•who  had  been  stolen  as  a  child   by  gypsies,  and  the  Baron, 

reconciled,   gives   the   Trumpeter  of  Sactyngen  his  daughter 

Maria  for  a  bride. 

Two  records  of  the  best  known  air  from  this  popular 

German  opera  are  offered — in  German  and  English. 

Es  hat  nicht  sollen  sein     (It  'Was  Not 
So  to  Be) 

By  Otto  Goritz,  Baritone 

{By  Frank  Croxton,  Bass 
With  the  Wine  on  the  Rhine     By  Reed  Miller 

458 


(In  German)      74212 


12-inch.  $1.50 

12-inch'  1>25 


LES  VEPRES'SICILLIENNES 

(Leh  Veh-txr  See-aee-/eeW) 
(Italian)  (English) 

I  VESPRI  SICILIANI       SICILIAN  VESPERS 

(Ee  Kes'-pree  See-chee-lee-ah'-nee) 

OPERA  IN  FIVE  ACTS 

Text  by  Scribe  and  Duveyrier.  Music  by  Verdi.  First  given  at  the  Academic,  Paris, 
June  13,  1855.  An  Italian  version  was  given  at  La  Scala,  Milan,  in  1856.  The  first  London 
production  was  at  Drury  Lane,  1859,  with  Tietiens,  Mongini  and  Vialetti.  The  work  was 
presented  in  New  York  in  1859,  with  Colson,  Brignoli  and  Ferri. 


Characters 

GUY  DE  MONTFORD Viceroy 

ARR1GO A  Sicilian  officer 

DUCHESSE  HELENE A  prisoner 

JOHN  OF  PROCIDA A  Sicilian  conspirator 


Verdi's  Sicilian  Vespers  followed  the  composer's  Traviata  and  was  written  for  the  Paris 
Opera,  being  produced  there  June  13,  1855.  It  is  a  brilliant  work,  but  has  never  been 
popular,  and  much  wonder  has  often  been  expressed  that  Verdi,  in  writing  for  the  French 
stage,  should  have  selected  so  inappropriate  a  subject  as  the  Sicilian  massacre  of  the 
French ! 

But  the  young  composer  could  hardly  help  himself,  as  the  libretto  was  offered  to  him 
by  the  great  Scribe,  then  in  the  height  of  his  glory.  The  French,  however,  kindly  over- 
looked the  plot  and  welcomed  the  composer's  fine  music  most  generously. 

The  scene  is  laid  in  Sicily  at  the  time  of  the  French  invasion,  and  tells  of  the  slaughter 
of  the  French  at  vespers,  Easter  Monday,  1282.  This  massacre  was  caused  by  the 
Viceroy's  brutal  attitude  toward  the  Sicilians. 

Arrigo  is  in  love  with  Helena,  and  the  plot  turns  on  his  attempt  to  rescue  her.  He  is 
afterward  discovered  to  be  the  son  of  the  Viceroy. 

The  Victor  offers  a  fine  record  of  the  splendid  O  lu  Palermo,  by  Mr.  Witherspoon. 

O  tu  Palermo  (Oh,  Thou  Palermo!) 

By  Herbert  Witherspoon,  Bass  (In  Italian)     74207      12-inch.  $1.50 

Fatherland,   beloved  country! 
At  last  I   now  behold  thee! 


Oh,  thou  Palermo, 

Land  of  my  devotion, 

Thy   loving  smile  shall   ever  be  mine! 

Summon  thy  pride  from  shameful  emotion, 

1   have  sought  near  and  far  for  an  ally, 

I  have  call'd  on  the  town  and  the  tow'r; 

But   never  heeding  the  voice  of  my  pleading, 

Came  the  reply: 

Oh,  Sicilians,   why  fails  your  own  pow'r? 

Let  us  rally  for  vict'ry. 

Let  us  rally  for  our  fame! 


(French) 

LA  VALKYRIE 


THE    RIDE    OF    THE   VALKYRIES 

(German) 

DIE  WALKURE 

(Dee  Vahl-kuer'-rel) 

(English) 

THE  VALKYRIE 

(  Vahl-kee'-ne) 

MUSIC-DRAMA  IN  THREE  ACTS 

Text  and  music  by  Richard  Wagner.       First  presented  in  Munich  in  1870.       First  New 
York  production  at  the  Academy  of  Music,  April  2,  1877. 


Characters 

SlEGMUND   (Seeg'-moond)  ., 

HUNDING  (Hoond'-ing) 

WOTAN  (Voh'-tahn) 

SIEGLINDE  (Seeg-Iin  -d'h) 

BRONNHILDE  (Broon-heef '.</•*)    

FRICKA  (Fnk'-ah) 

VALKYRIES — Gerhilda,  Ortlinda,  Valtrauta,  Sverleita,  Helmviga,  Siegruna, 
Grimgerda,  Rossvisa. 


.  .  Tenor 
...  Bass 
Baritone 
Soprano 
Soprano 
Soprano 


is  the  second  in  the  series  of  music-dramas  composing  the  Niebelung  Ring,  and 
to  most  opera-goers  perhaps  the  most  melodious  and  pleasing.  The  story  is  beauti- 
ful and  compelling,  the  situations  by  turn  thrilling  and  pathetic,  while  the  glorious  music 
written  by  the  master  to  accompany  the  adventures  of  his  mythical  personages  is  easily  un- 
derstood and  appreciated  by  the  average  listener. 

A  perusal  of  the  preceding  description  of  the  story  of  the  Niebelung  in  Rhinegold 
(page  360)  will  help  the  reader  to  understand  more  fully  the  Victor  synopsis  of  Walkiire. 

Wolan  has  been  warned  by  Erda,  the  Earth  Goddess,  that  if  Alberich  regains  the  Ring  the 
gods  must  perish.  Brooding  over  this  impending  fate,  Wolan  descends  to  earth  and  weds  the 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


goddess ;  this  union  resulting  in   nine   splendid   daughters,  the  Wall^ure,  who   are   to  aid   in 
the  salvation  of  the  gods.     Riding  forth   each   day  among  the  tumult  and   the  strife  which 

Srevail  on  the  earth  as  a  result  of  the  Curse  of  the  Ring,  they  carry  to  Walhalla,  on  their 
ying  horses,  the  bravest  of  the  warriors  who  fall  in  battle.  These  revived  heroes  keep 
themselves  ready  to  defend  Walhalla  from  the  Niebelungs.  But  in  order  to  regain  the  Ring, 
a  brave  hero  is  necessary,  who  shall  be  free  from  the  universal  curse  and  who  can  take  it 
from  Fafner,  now  changed  into  a  dragon  the  better  to  guard  the  treasure.  With  this  in  mind 
Woian  visits  the  earth  again  and  weds  a  mortal  who  bears  him  twins,  Siegmund  and  Sieglinde. 

While  these  children  are  quite 
young,  the  brutal  Hunding 
finds  their  cottage,  burns  it, 
kills  the  mother  and  carries  off 
Sieglinde,  whom  he  afterward 
forces  to  become  his  bride. 

The  father  and  son  return 
and  swear  vengeance  on 
Hunding.  Woian  (known  as 
Volse.  on  earth)  returns  to 
Walhalla,  leaving  the  young 
Siegmund  to  fight  alone  and 
become  a  self-reliant  hero. 
This  is  the  situation  when  the 
action  begins. 

ACT  I 

SCENE  I— Interior  of  Hunding 's 
Hut  in  the  Forest — a  Large 
Tree  rises  through  the  Roof 

The  prelude  represents  a 
fearful  storm  in  the  forest,  in 
the  midst  of  which  Siegmund 

rushes  in  exhausted,  and  falls  by  the  fire.  Sieglinde  gives  him  refreshment  and  feels  drawn 
to  him  by  some  strange  attraction.  While  they  are  conversing,  Hund- 
ing enters,  and  after  questioning  the  stranger,  recognizes  in  him  his 
mortal  enemy.  He  says,  "Thou  shall  have  shelter  from  ihe  slorm 
to-night,  but  to-morrow  thou  diest!"  and  goes  to  his  room,  bidding 
Sieglinde  prepare  his  evening  drink.  She  does  so  but  puts  a  drug 
in  it  to  make  him  sleep  soundly,  and  returns  to  Siegmund,  unable  to 
control  her  interest  in  the  mysterious  youth  who  has  so  strangely 
affected  her. 

Then  occurs  the  lovely  Liebeslied,  the  gem  of  this  beautiful 
first  act. 

Siegmund's  Liebeslied    (Siegmund's  Love  Song) 

By  Riccardo  Martin,  Tenor 

(In  German)      88276      12-inch,  $3,OO 
By  George  Hamlin,  Tenor 

(In  German)      74111      12-inch,     1.50 

The  hut,  which  has  been  in  semi-darkness,  is  suddenly  illumined 
by  the  blowing  open  of  the  great  door  at  the  back,  and  without  can 
be  seen  the  beauty  of  the  spring  night  after  the  storm.  The  full 
moon  shines  in  upon  them,  so  lhal  they  see  each  other  clearly 
for  the  first  time.  Siegmund,  in  ecstasy,  rhapsodizes  Spring  and 
Love: 


-  me  wi  •  Chen  dem  Won  ne-i 
Winter  storms  have  waned,  to  thf  winsomt  i 


nil  •  dem  Lich  •  te  leuchlet  der  Leni 
it.  lit  mild  ai-ctn-dancr  rmilelk  llu  Spnnf 


VAN    DYCK    AS   SIEGMUXD 


Briinnhilde  Bearing  a  Wounded  Warrior  to  Walhalla 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


He  takes  her  hand,   seats  her  beside  him  on  the  rude  bench,  and  continues: 

SIEGMUND: 

With   balmy   breezes,    soft   and   soothing, 

Wonders  weaving,   on   he  wends. 

Through       wood      and      meadow       wafts       his 

breathing, 

Wide  and  lustrous  laughs  his  eye; 
In  songs  of  birds  his  silv'ry   voice  resounds, 
Wondrous   fragrance   he   outbreathes; 
From  his  living  blood  the  loveliest  flowers  are 

blooming 

Leaf  and  spray  spring  forth  at  his  voice. 
With     gentle     sceptre's     sway     he     ruleth     the 

world; 
Winter     and     storm     wane     as     his     strength 

awakes: 

By  dint  of  his  hardy  striving 
The  stoutest   doors  he  is  cleaving. 
Which,  stubborn  and  strong,  once  held  us  from 

him! 

To  greet  his  sister  swiftly  he  flies; 
Thus  Love  the  spring  hath  allured. 
Within  our  bosoms  Love  lay  asleep 
That  now  laughs  out  to  the  light 
The    bride    and    the     sister     is     freed    by     the 

brother; 

Destroyed  the  walls  that   held  them   apart; 
Joyous  meet  now  the  youthful  pair; 
United  are  Love  and  Spring! 

Copy  t  Oliver  DiUOD  Co 

Although  the  true  charm  of  this  poetry  can  be  realized  best  by  those  on  intimate  terms 
with  the  German  tongue,  this  excellent  translation  from  the  Ditson  Wagner  Lyrics  for  Tenor 
will  add  to  the  enjoyment  of  the  record. 

Sieglinde  then  tells  Siegmund  the  story  of  the  Sword — how  at  her  wedding  a  stranger  had 
suddenly  appeared  and  thrust  into  the  trunk  of  the  tree  a  magic  sword  which  should  belong 

only  to  him  who  could  take  it  out. 
The  stranger  had  secretly  told  Sieglinde 
that  no  one  but  Siegmund  would  have 
power  to  remove  it. 

Siegmund  rises  eagerly,  and  going  to 
the  tree  withdraws  the  sword  with  a 
mighty  effort.  The  reunited  brother  and 
sister  embrace  each  other  and  agree  to 
fly  from  the  power  of  Hunding.  The 
curtain  falls  as  they  pass  out  into  the 
moonlit  forest. 

The  love  scenes  between  Sieglinde 
and  Siegmund  should  be  considered  in 
their  allegorical  and  poetical  sense,  and 
not  judged  by  modern  ethical  standards. 
Wagner  intended  this  episode  to  represent 
the  union  of  Love  and  Spring. 

ACT  II 

SCENE  I— A  Wild  and  Rocky  Pa** 

Wotan  and  his  favorite  Valkyrie 
daughter,  Briinnhilde,  are  discovered  in 
full  armor.  He  tells  her  to  go  to  the 
rescue  of  the  Volsung  (Siegmund),  whom 
Hunding  is  pursuing. 
WOTAN  : 

Make   ready   thy   steed,   warrior  maid. 
Soon  will  come  battle  and  strife; 
Briinnhilde,  haste  to  the  field, 
Give  aid  to  Yolsung  to-day! 
The  Valkyrie  eagerly  prepares  for  her 
WOTAN  AND  BRCNNHiLDE  flight,  and  sings  her  famous  Battle  Cry. 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


Ho,  yo,  to,  ho !  (Briinnhilde' s  Battle  Cry) 

By  Johanna  Gadski,  Soprano  (In  German)     870O2     10-inch,  $2.00 

Gadski  is  always  a  statuesquely  beautiful  Briinnhilde,  and  her  voice  glorifies  this  music, 
in  which  many  persons,  insensible  to  the  poetic  depth  and  power  of  the  story,  hear  only 
noisy  declamation.  In  this  first  scene  especially,  she  brings  into  beautiful  relief  the  joyful 
nature  of  the  Valkyrie,  and  her  cries  are  full  of  eager,  happy  vitality.  Some  idea  of 
the  difficult  nature  of 
this  famous  Battle  Cry 
may  be  had  from  these 
few  measures 

Mme.  Gadski,   however,   surmounts  these  difficulties   with 
ease,  and  the  aria  is  a  really  wonderful  specimen  of  both 
singing  and  recording. 
BRI'-NNHILDE: 

Ho-yo-to-ho!      Ho-yo-to-ho!      Hei-aha! 
But  listen,   father!   care  for  thyself; 
For  a  storm  o'er  thee  will  break; 
Fricka,     thy     busy     wife,     approacheth     in     her 

ram-impelled   car. 

Ha!   how  she  swings  her  golden  whip! 
The   frighten'd   goats   are   fainting   with   fear, 
Wheels   rattling   and   rolling  whirl   her   here   to 

the  fight. 

At  such  a  time  away  I  would  be, 
Tho'  my  delight  is  in  scenes  of  war! 
Take  heed  that  defeat  be  not  thine, 
For  now  I  must  leave  thee  to  fate! 

Briinnhilde  is  right — Wolan  is  in  for  a  scolding,  as  Fricka 
now  appears  in  an  extremely  bad  humor.  Hunding  has  ap- 
pealed to  her,  the  guardian  of  marriage,  for  help,  and  she 
insists  that  Siegmund  be  punished.  Wolan  protests  that  this 
true  love  romance  should  not  be  interfered  with,  but  the 
wrathful  wife  reminds  him  that  the  whole  difficulty  is  but 
the  result  of  his  own  infidelity,  and  he  is  finally  forced  to 
swear  that  Siegmund  shall  be  punished. 

Fricka  then  triumphantly  calls  to  Briinnhilde  that  Wolan 
has  further  instructions  for  her.  Briinnhilde  finds  her  father 
in  deep  dejection,  and  when  she  questions  him  he  confides  to  her  his  efforts  to  find  a  hero 
who  shall  banish  the  curse,  but  says  his  quest  has  been  in  vain.  He  bids  her  see  that  vic- 
tory goes  to  Hunding.  She  protests,  but  he  sternly  commands  obedience  and  leaves  her. 

Siegmund  and  Sieglinde  now  appear,  fleeing  from  the  wrath  of  Hunding.  Sieglinde's  strength 
has  failed  her,  and  she  falls  down  exhausted.  Briinnhilde  comes  to  the  lovers  and  tells 
Siegmund  he  must  die.  He  scorns  her  prophecy  and  says  his  sword  will  not  fail  him. 
Hunding 's  voice  is  now  heard,  and  in  a  sudden  wave  of  sympathy  Briinnhilde  resolves  to 
defend  the  young  lovers. 

Siegmund  rushes  to  meet  Hunding, 
and  amid  flashes  of  lightning  the  warriors 
can  be  seen  in  deadly  combat,  while 
Briinnhilde  is  visible  flying  above  Sieg- 
mund and  protecting  him.  Wolan,  seeing 
the  situation,  then  appears  and  causes 
Siegmund  to  fall  by  his  opponent's  sword, 
but  also  strikes  down  Hunding. 

Briinnhilde  retreats  in  terror  from  her 
father's  wrath,  and   runs  to  protect  Sieg- 
linde.     She  lifts  the  helpless  maiden  on 
her  horse  and  they  disappear. 
WOTAN      (suddenly     bursting     into     terrible 
wrath)  : 

But  Briinnhilde! 
Vengeance   shall  break  on  her. 
If  my  steed  may  stay  her  flight! 
(He    disappears   amid   thunder  and   light- 
ning.) 


GADSKI    AS    BRUNNHILDE 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


THE    DEATH    OF    SIEGMUND 


ACT  III 

SCENE  I—  The  Summit  of  a  Rocky  Mountain 

The  act  opens  with  the  -wonderful  Ride  of 
the  Valkyries,  one  of  the  most  striking  of  all  the 
master's  compositions.  This  is  graphically 
pictured  in  the  splendid  Fantasia  by  Pryor's 
Band,  and  in  the  La  Scala  record. 

Cavalcata     (Ride  of  the  Valky- 
ries) 

By  La  Scala  Orchestra 

(Double-faced)  62693     10-inch,  $O.75 

Fantasie 

(Including  Ride  of  the  Valkyries) 
By  Arthur  Pryor's  Band 

31333     12-inch,  $1.OO 

The  Fantasie  contains  some  of  the  finest 

portions  of  this  second  opera  of  the  Niebelun- 

gen  Ring.     At  first  we  hear  the  motive  of  The 

Sword 


by  full  band,  followed  by  the  tumultuous 
Ride  of  the  Valkyries,  one  of  the  most  tremen- 
dous compositions  in  existence.  The  wild 
shouts  of  the  goddesses  as  they  ride  their 
winged  steeds  through  the  air  to  the  Rock, 
the  warlike  cries  of  Briinnhilde  and  the  neigh- 
ing of  the  war  horses  are  splendidly  portrayed. 
A  skillful  modulation  brings  us  to  the  last  act,  and  a  part  of  the  great  scene  between 

W otan  and    Briinnhilde   is    given,   beginning   -with 

the  wonderful    Siegfried,    Guardian    of  the   Sword 

theme 


on  the  trombone,  and  which  is  repeated  magnifi- 
cently by  the  basses  in  another  key. 

The  closing  line  of  Wotan's  Farewell,  So 
kusst  er  die  Gotiheit  von  dir  ("with  a  kiss  I  divest 
thee  of  godhead"),  is  heard  on  the  cornet,  fol- 
lowed by  the  Fire  Music,  an  exquisite  blending 
of  the  two  fire  motive  with  Briinnhilde 's  Sleep. 

The  Valkyries  see  Briinnhilde  flying  toward 
them,  evidently  in  great  distress.  She  alights 
and  asks  her  sisters  to  shield  her  from  the  wrath 
of  Woian,  who  is  riding  in  pursuit;  but  they 
dare  not  help  her. 
BRTNNHILDE: 

Shield  me!     Oh,  help  in  hardest  need! 
THE  VALKYRIES: 

Why  fleest  thoti  in  all  haste? 
Art  thou  in  fear?     So  flee  but  culprits  who  fear! 
BRTNNHILDE: 

I  am  for  the  first  time  pursued  in  flight; 
Host-father  hunts  me  down  ! 

She  then  bids  Sieglinde  flee  alone,  telling  her 
that  she  is  destined  to  bear  a  son  who  shall  be 
the  hero  Siegfried. 

465 


THE    RESCUE    OF    SIEGLIND1 


Wotan's  Farewell 


VICTOR    BOOK    OF  THE    O  PER  A— WAGNER'S    DIE   WALKURE 


Fort  denn  eile  (Fly  Then  Swiftly) 

By  Margarete  Matzenauer,  Contralto 

(In  German)     87102      lO-inch,  $2.0O 


east! 


BRINNHILDE: 

Fly  then  swiftly,  and  speed  to  the  ea 
Bravely   determine   all    trials  to   bear. 
Hunger  and  thirst,  thorns  and  hard  ways, 
Smile   through   all    pain    while   suffering    pangs! 
This  only  heed  and  hold  it  ever: 
The     highest     hero     of     worlds     hidest     thou, 

O    wife. 

In   sheltering   shrine! 
(She  produces  the  pieces  of  Siegnnind's  sword 

from   under  her  breastplate   and   hands   them 

to   Sieglindc.) 
For  him  keep  these  shreds  of  shattered  sword- 

Klo^l^  . 


blade; 
From     his    father's     death-field     by     fortune     1 

saved  them: 

Anon   renewed   this  sword   shall   he   swing: 
And    now    his    nam 

vict'ry  the  son! 


SIEOLINDE: 

O   marvelous  saying 


wor     sa        e   swng: 
I    declare  —  Siegfried,    of 


maiden  divine! 

What  comfort  o'er  my  mind  thou  hast  cast! 

For  his  sake  I   live  and  save  this  belov'd  one! 

May  my  blessing  frame  future  reward! 

Fare  thee  well!  Be  Sieglinde's  sorrow  thy 
weal ! 

(She  hastens  away.  The  rocky  peak  is  en- 
relopcd  in  black  thunder-clouds;  a  fearful 
tempest  roars  tip  from  the  back;  bct-veen 
the  peals  of  thunder  Wotan's  voice  is 
heard.) 


The  Valkyries  hurriedly  conceal  BriinnhilJe  in  their  midst 
in  a  furious  rage. 

WOTAN: 

Where    is    Brunnhilde?      Where    the    rebellious 

one? 

Dare  ye  to  veil   her  from   Wotan's  vengeance? 
(Briinnnilde    comes    out    from    the    group    and 

faces   her   father,   saying): 


Wotan  springs  from  his  horse 


RRI  NNHILDE: 

Here    stand    I,    father, 


3    suffer    my    sentence! 
hou    hast    shaped    the 


WOTAN: 

I    sentence    thee    not; 

stroke    for    thyself. 
Wish-maid  art  thou  no  more. 
One  time  a  Valkyrie  wert  thou, 
Remain    henceforth   but   merely   thyself! 

BRI'-NNHTLDE    (-'latently  startled): 
Thou  disownest  me?     Thine  aim  I   divine! 

WOTAN  : 

From  heavenly  clans  art  thou   excluded, 
Bann'd.   degra'ded   from   thy  blessed  degree; 
For  broken  now  is  our  bond:  exiled  for  aye 
Art   thou   banished   from   bliss. 

He  then  tells.her  that  she  must  be  put  in  a  deep  sleep, 
and  shall  be  wakened  by  the  first  man  who  passes.  She 
pleads  with  him  in  a  beautiful  appeal. 

Briinnhilde's  Bitte     (Briinnhilde's  Appeal 
to  Wotan) 

By  Johanna  Gadski,  Soprano 

(In  German)      88183      12-inch.  $3.OO 

467 


JOURNET    AS    WOTAN 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


11 
ii  •  m 

IKikfcW  i  ^R     $/  VC 

,1  ,     :l    i.m  vW* 


BRTNNHILDE: 
Was  it  so  sha 
That     for     my 

scourged? 
Was    it    so    base    to 

thou 

For  me   such   debase 
Was't  such  dishonor 


WOTAN    INVOKING    THE    FIRE    GOD 


ful,   what 
deed     1 


I   have  done, 

so      shamefully 


rp    thy    command,    that 


That  it  should  rob  me  of  honor  for  aye? 

O    speak,    father!    see    me    before    thee:    soften 

thy   wrath; 
Wreak    not    thine    ire,    but    make    to    me    clear 

the    mortal 

Guilt  that   with   cruel   firmness   compels  thee   to 
Cast  off  thy   favorite   child! 


snt  must   shape? 

vhat  I  have  wrought 

Wotan,  deeply  moved,  softens  his  stern  decree,  and  consents  that  she  shall  be  -won  only 
by  a  great  hero  who  can  brave  the  flames  with  -which  she  is  to  be  surrounded.  He  then 
bids  her  farewell  in  the  splendid  Abschied. 

Wotan's  Abschied   (I)   (Wotan's  Farewell,  Part  I) 


By  Clarence  Whitehill,  Baritone 


(In  German)      64278      lO-inch,  $1.OO 


WOTAN  : 

Farewell,  my  brave   and  beautiful   child! 

Thou   once   the   light   and  life   of   my   heart! 

Farewell!    Farewell!    Farewell! 

Loth   I  must  leave  thee:  no  more  in  love 

May   I    grant   thee   my    greeting; 

Henceforth   my   maid  no  more  with  me   rideth, 

Nor  waiteth  wine  to   reach  me! 

When   I   relinquish  thee,  my  beloved  one, 

Thou  laughing  delight  of  my  eyes, 
BriinnhilJe  sinks,  wrapt  and  transfigured,  on  Wotan  's  breast  ;  he  holds  her  in  a  long  em- 
brace.    She  throws  her  head  back  again  and   gazes  with  solemn  emotion   into  her  father's 
eyes. 


Thy  bed  shall  be  lit  with  torches  more  brilliai 

Than   ever   for   bridal   have   burned! 

Fiery   gleams   shall   girdle   the   fell, 

With    terrible    scorchings    scaring   the    timid. 

Who,     cowed,     may     cross     not     Brunnhilde 

couch 

For   one   alone   freeth   the   bride; 
One   freer   than    I;    the   God! 


Wotan's  Abschied    (II)   (Wotan 

By  Clarence  Whitehill,  Baritone 

WOTAN: 

Those  eyes   so  lustrous  and  clear, 

Which  oft  in  love  I  have  kissed, 

When   warlike   longings   won   my   lauding, 

Or     when     with     lisning     of     heroes     leal     thy 

honied    lips    were   inspired; 
Those   effulgent,   glorious  eyes, 
Whose   flash   my   gloom   oft   dispelled. 
When   hopeless  cravings  my  heart  discouraged, 

He  imprints  a  long  kiss  on  her  eyes  ;  she  i 


s  Farewell,  Part  II) 

(In  German)      74305      12-inch,   $1.50 

Or    when    my    wishes    t'wari    wordly    pleasure 
from    wild    warfare    were   turning — 

Their   lustrous   gaze    lights   on    me    now   as   my 
lips  imprint  this   last   farewell! 

On   happier   mortal   here  shall  they  beam; 

The    grief-suffering   god   may   never    henceforth 
behold  them! 

Now  heart-torn,  he  gives  thee  his  kiss, 

And   taketh   thy  godhood  away! 
inks  back  in  his  arms  with  closed  eyes,  her 


468 


VICTOR    BOOK    OF    THE    OPERA— WAGNER'S    DIE    WALKURE 


Eowers  gently  departing.     He  tenderly  helps  her  to  lie  upon  a  low  mossy  lounge,  closes  her 
elmet  and  completely  covers  her  with  the   great  steel  shield  of    the    Valkyrie.       He   slowly 
moves  away,  then  directs  the  point   of    his   spear   toward   a  huge  stone,  and  summons  the 
God  of  Fire. 

WOTAN:    Loki,  hear!     Listen  and  heed! 
Appear,     wavering    spirit,    and 

spread  me  thy 
Fire    round    this    fell! 
Loki !   Loki !   Appear ! 

A   stream  of  fire  issues    from    the   stone,  which  swells  to  an  ever  brightening  glow  of 
flame;  bright  flames  surround  Woian,  leaping  wildly. 

Magic   Fire   Spell      (Feuerzauber)        (Transcription  by  Brassin) 

By  Alfred  Grunfeld,  Pianist  58O06     12-inch,  $1.OO 

The  leave-taking  and  the  breaking  out  of  the  flames  are 
musically  pictured  in  one  of  those  marvelous  bits  of  writing 
which  only  Wagner  could  produce,  and  this  beautiful  transcrip- 
tion is  artistically  played  here  by  Herr  Grunfeld.  The  record  be- 
gins with  the  passage  just  preceding  Woian 's  summons  to  Loge. 


Then  follows  a  long  modulation  ending  in  E  major,  whe 
fire  motive 


the 


(BAYREUTH,    1876) 


begins  and  continues  with  all  its  varied  changes  and  modulations 
to  the  close  of  the  opera. 

Woian  directs,  with  his  spear,  the  fiery  flood  to  encircle  the 
rocks. 

WOTAN  :    Tie  who  my  spear  in  spirit  feareth, 
Ne'er  springs  through   this  fiery  bar! 

He  casts  a  last  look  on  BriinnhilJe  and   disappears   through 
the  fire. 

(  The  curtain  falls. ) 


A  FAMOUS  GROUP  OF  VALKYRIES  AT  BAYREUTH  (ABOUT  1880) 

469 


WERTHER 

LYRIC  DRAMA  IN  FOUR  ACTS  AND  FIVE  TABLEAUX 

Libretto  by  Edouard  Blau,  Paul  Milliet  and  George  Hartman,  founded  upon  Goethe's 
melancholy  and  romantic  story  of  his  own  life,  The  Sorrows  of  Werther.  Music  by  Massenet. 
First  produced  at  the  Imperial  Opera  House,  Vienna,  February  16,  1892,  with  Van  Dyck 
and  Renard.  First  Paris  production  at  the  Opera  Comique,  January  16,  1893,  with  Mme. 
Delna.  First  American  production  at  the  Metropolitan  Opera  House,  New  York,  April  20, 
1894,  with  ELames,  Arnoldson  and  Jean  de  Reszke  in  the  cast.  Revived  at  the  New  Theatre 
by  the  Metropolitan  Opera  Company,  1910,  with  Farrar,  Clement,  Gluck  and  Dinh-Gilly ; 
and  at  the  Boston  Opera  in  1913. 


Characters 


WERTHER 

ALBERT,  the  bailiff. 


SCHMIDT,!  , . 


,  .   r  •     , 
hls  fnends 


JOHANN,  / 

CHARLOTTE,  his  daughter 

SOPHIE,  her  sister 

BUHLMANN 

KATCHEN  

Six  younger  children  of  the  bailiff. 


Tenor 

Baritone 

/Bass 
\Tenor 

Soprano 

.  Mezzo-Soprano 

Baritone 

.  Mezzo-Soprano 


Time  and  Tlace  : 


In  the  vicinity  of  Frankfort,  Germany,  1772. 
470 


VICTOR    BOOK    OF    THE    OP  ER  A— M  AS  SENET'S    WERTHER 

As  the  curtain  rises,  Charlotte,  surrounded  by  her 
brothers  and  sisters,  is  engaged  in  preparing  the 
noonday  meal.  Werther,  a  serious-minded  and 
romantic  young  man,  comes  to  the  house  with  his 
friend  Albert,  who  is  betrothed  to  Charlotte.  The 
charming  domestic  picture  appeals  to  Werther  greatly, 
and  he  promptly  falls  in  love  with  the  young  girl. 
When  Werther  finds  an  opportunity  to  tell  Charlotte  of 
his  love,  she  confesses  that  she  returns  his  affection, 
but  feels  it  her  duty  to  marry  Albert  to  fulfill  a 
promise  made  to  her  dying  mother,  and  begs  him  to 
leave  the  village. 

After  Charlotte  and  Albert  are  married  Werther 
returns  and  tells  Charlotte  that  he  still  loves  her.  She 
admits  that  he  still  possesses  her  affections,  but  en- 
treats him  to  spare  her  and  go  away  forever.  Werther 
then  writes  a  message  to  Albert,  telling  him  he  has 
resolved  to  go  on  a  long  journey,  and  asking  him  for 
his  brace  of  pistols.  Charlotte,  greatly  alarmed  at 
this  request,  follows  Werther,  but  is  too  late,  as  she 
finds  him  mortally  wounded,  and  he  dies  in  her 
arms.  Overcome  with  grief,  she  faints  on  the  body 
of  her  lover,  while  in  strange  contrast  to  this  affect- 
ing scene  the  pealing  of  bells  and  the  joyous  voices 
ARRAR  AS  CHARLOTTE  IN  WERTHER  of  little  children  singing  Christmas  carols  are  heard 

in  the  distance. 
Two  of  the  best  selections  from  the  opera,  by  Clement  and  Battistini,  are  offered  here. 


Lied  cTOssian     (Ossian's  Song) 

By  Edmond  Clement,  Tenor 


(In  French)     64234      10-inch,  $1.OO 


Ah  !  non  mi  ridestar  !     (Do  Not  Waken  Me  !) 

By  Mattia  Battistini,  Baritone  (In  Italian)     88354      12-inch,  $3.OO 


GUILLAUME   TELL 

(Jee-yaum  Tell) 
(Italian) 

GUGLIELMO  TELL 

(Gool-yel'-mo  Tell) 
(English) 

WILLIAM  TELL 


OPERA  IN  FOUR  ACTS 

Words  by  Etienne  Jouy,  Hippolyte  Bis  and  Armand  Marast,  taken  from  Schiller's 
drama  of  the  same  name.  Music  by  Gioachino  Rossini.  First  presented  at  the  Academic, 
Paris,  August  3,  1829.  First  London  production,  in  English,  at  Drury  Lane,  1830,  and  in 
Italian  at  Her  Majesty's,  1839. 

472 


VICTOR     BOOK    OF    THE    OPERA— ROSSINI'S     WILLIAM     TELL 


Characters 

WILLIAM  TELL,  ] 

ARNOLD,  suitor  of  Matilda,  [Swiss  Patriots .  .  . 

WALTER  FURST. 

MELCTHAL.    Arnold's   father 

GESSLER,  Governor  of  Schwitz  and  Uri 

RUDOLPH,  Captain  of  Gessler's  bodyguard .  . 

RUODI,   a   fisherman 

LEUTHOLD,   a  shepherd 

MATILDA,  daughter  of  Gessler 

HEDWIGA,  Tell's  wife 

JEMMY,  Tell's  son 


Bass 

Tenor 

Bass 


.  .  Tenor 
.  .  Tenor 
....  Bass 
.  Soprano 
. Soprano 
. Soprano 


Chorus  of  Peasants  of  the  Three  Cantons ;  Knights,  Pages  and  Ladies 
of   the   train    of    Matilda;    Hunters,    Soldiers   and  Guards  of  Gessler. 


Scene  and  Period  :    Switzerland;  thirteenth  cenlury. 


\CAUF.M1F.    ROY  ALL    LM 


GLILLAUME 

Lr 


PROGRAM     OF    WILLIAM     TELL 
PREMIERE,     PARIS    OPERA,     1829 


THE  PLOT 

The  story  of  Tell,  the  distinguished  patriot, 
and  chief  instrument  of  the  revolution  which 
delivered  the  Swiss  cantons  from  the  German 
yoke  in  1207,  has  been  taken  by  Rossini  for  the 
theme  of  one  of  his  most  admired  operas,  the 
dramatic  interest  being  heightened  by  the  intro- 
duction of  love  scenes  and  other  episodes. 

In  the  libretto  by  Jouy  and  Marast  Gessler  is 
endowed  with  a  beautiful  and  amiable  daughter, 
Matilda,  who  has  been  saved  from  a  watery  grave 
by  Arnold,  son  of  Melcthal,  the  patriarch  of  the 
country,  and  a  determined  opponent  of  the  tyran- 
nies of  Gessler.  As  a  matter  of  course,  mutual 
attachment  ensues,  and  leads  to  the  troubles  which 
might  have  been  expected  from  so  ill-sorted  a 
connection. 
At  the  opening  of  the  opera  we  learn  that  an  agent  of  Gessler's  has  attempted  an  outrage 

on  the  daughter  of  a  herdsman,  and  has  been  slain  by  her  father,  Leuthold.     Obliged  to  fly 

the  country  after  this  act  of  vengeance,  it  becomes  necessary  to  cross  Lake  Lucerne  while 

the  weather   is  so  adverse  that   none  of   the   boatmen  will   row   the   old    man   across   the 

tempestuous  waters.      William  Tell  finally  undertakes  the  rescue,  and  by  so  doing  incurs  the 

mortal  hatred  of  Gessler. 

As  time  progresses,  the  people  become  more  and  more 

disaffected ;  and  the  father  of  Arnold,  suspected  of  inciting 

them  to   acts   of   insubordination,  is  seized  by  Gessler  and 

executed.      The    son's    feelings    are    thus    subjected    to    a 

severe    conflict     between    his    love    for   Matilda,     Gessler  s 

daughter,  his  duty  to  his  country,  and  his  desire  to  avenge 

his    father's    death.      He.    however,    renounces    his    love. 

and    joins    the    band    of    patriots    now    marshaled    under 

William   Tell.      Events  are   brought  to  a  climax   by  Gessler 

causing   a   cap   to   be   elevated    on   a   pole,    and    requiring 

all  passers-by  to  bow  to  it.      Tell  firmly  refuses   to  do  so. 

and  is  thereupon  subjected  to  the  ordeal  of  the  apple,  being 

required    under  pain  of  death,  to  shoot  at  an  apple  placed 

on  the  head  of  his  son.     Although  the  distance  was  consid- 
erable, he  was  able  to  strike  the  apple  off  without  injuring 

the  child      The  tyrant,  perceiving  another  arrow  concealed 

under  Tell's  cloak,  asks  him   for  what  purpose   it  was  in- 
tended     To  which  he  boldly  replies.    "To  have  shot  you 

to  the  heart,  if  1  had  killed  my  son !  "     The  enraged  governor 

orders  him    to   be    hanged;    but    the  Swiss,  animated  by 

473 


VICTOR    BOOK    OF    THE    OPERA— ROSSINI'S     WILLIAM     TELL 

such  fortitude  and  patriotism,  fly  to  arms,  attack  and  vanquish  Gessler,  who  is  shot  by  Tell. 
Matilda  and  Arnold  are  united,  and  the  independence  of  the  country  is  assured. 

OVERTURE 

This  great  overture,  which  Berlioz  has  called  a  symphony  in  four  parts,  is  a  fitting 
prelude  to  such  a  noble  and  serious  work,  and  is  full  of  beautiful  contrasts. 

The  first  movement  is  reposeful,  expressing  the  solitude  of  Nature,  and  is  followed  by 
the  contrasting  Storm,  a  majestic  and  awe-inspiring  tone  picture.  To  the  Storm  succeeds  a 
beautiful  pastoral  with  a  delicious  melody  for  the  English  horn,  and  as  Berlioz  says,  "with 
the  gamboling  of  the  flute  above  this  calm  chant  producing  a  charming  freshness  and 
gayety."  As  the  last  notes  of  the  melody  die  away,  the  trumpets  enter  with  a  brilliant  fan- 
fare on  the  splendid  finale,  a  fitting  climax  to  a  great  work. 


Part  I— At  Dawn 
Part  II— The  Storm 
Part  III-The  Calm 
Part  IV— Finale 


By  Pryor's  Band  31218  12-inch,  $1.00 

By  Pry  or  *s  Band  31219  12-inch,     l.OO 

By  Pryor's  Band  3122O  12-inch,     l.OO 

By  Pryor's  Band  31221  12-inch,     l.OO 


Note.  —  This  series  is  also  issued  in  Double-Faced  form.  —  See  page  478. 


ACT  I 

SCENE—  A  Village  in  the  Canton  of  Uri 

The  curtain  rises  on  a  peaceful  scene,  showing  a  charming  village  •with  the  house  of 
William  Tell  in  the  foreground.  Tell  and  his  family  are  engaged  in  rural  occupations,  and 
the  fishermen,  while  they  prepare  to  put  out  the  boats,  sing  a  lovely  barcarolle. 

Accours  dans  ma  nacelle     (Come,  Love,  in  My  Boat) 

M.  Regis,  Tenor     (Double-faced—  See  p.  478}          (In  French)     *45026     10-inch,  $  l.OO 


REMARKABLE    PASTORAL    SCENE   IN    THE   SWISS   OUTDOOR    PRODUCTION    OF    WILLIAM    TELL 
474 


VICTOR    BOOK    OF    THE     OPERA— ROSSINI'S     WILLIAM     TELL 


In   my  little  boat  embark; 

Ah!    hither   come,   and   with  thy 

smile 

My  loving   heart   rejoice. 
Though  leave  I  must,  Eliza,  dear, 
Do  not  let  me  alone  depart; 
See  how  the  shining  sky  above 
A  brilliant  day  doth  augur. 
Gentle  as  the  bending  rosebud. 
Born  in  the  morning's  early  dew, 
Heaven's      threaten  d      tempests 

wild 

Will  thy  presence,  love,  appease; 
When  by  your  side  I'm  seated. 
What  new  life  my  soul  receives! 
There's  a  Providence  above  us 
Our  heart's  affections  will  pro- 
tect. 

A  horn  sounds  as  the  sig- 
nal for  the  beginning  of  the  an- 
nual Shepherds'  Festival,  at 
which  three  marriages  are  to 
be  celebrated  by  Melcthal, 
the  patriarch  of  the  village.  Arnold,  Melclhal's  son,  is  saddened  at  the  signal,  thinking  of 
his  own  love,  Matilda,  who  is  the  daughter  of  the  tyrant  Gessler. 

Tell  confides  to  Arnold  some  of  his  plans  for  overthrowing  the  power  of   Gessler,  and 
asks  Arnold  to  assist. 

Che  finger  tanto  invano     (Vain  is  the  Attempt !) 

By  Antonio  Paoli,  Tenor,  and  Francesco  Cigada,  Baritone 

(In  Italian)     92O48      12-inch,  $3.00 


FIRST    ACT    SCE 


VICTOR    BOOK    OF    THE     OPERA— ROSSINI'S    WILLIAM     TELL 

ARNOLD:  His   grief    his    repentance   doth   attest. 

(Ah!   vain   is  all   dissembling.)  (To  Arnold): 

While  the  tyrant's  yoke   continues,  We  have  no  need  for  doubt  or  fear — 

My   heart   is   o'erwhelm'd   with   grief.  If  true  to  ourselves,   we  must  conquer. 

What   dost    thou  -desire?  ARNOLD: 

TELL:  What   power   do   we   possess? 

To  recall  you,  Arnold,  to  your  duty.  TELL: 

ARNOLD:  Strength   enough   has   he  who  doubts  not. 

Ah!    Matilda,   dearly   do   I   love  thee;  If   our   valor   fail   us  not, 

But    from    my    heart    the   passion    I    must    root,    •     The    tyrant    will    surely   fall. 

If  my   country   and  my   honor  so   demand.  ARNOLD: 

TELL   (aside) :  When  the  hour  of  danger  comes, 

If  to  us  unfaithful  he  has  been,  Faithfully   I   will   stand  by   you. 

The  young  man  hesitates  between  duty  to  his  country  and  his  love  for  the  tyrant's 
daughter,  but  finally  casts  his  lot  with  Tell,  and  goes  to  bid  a  last  farewell  to  Matilda. 

The  festival  now  begins,  but  is  interrupted  at  intervals  by  the  sound  of  hunting  horns, 
showing  that  Gessler  and  his  huntsmen  are  in  the  mountains  near  by.  The  young  couples 
are  wedded,  and  all  are  rejoicing  in  their  happiness  when  the  festival  is  rudely  inter- 
rupted by  Leuthold,  a  shepherd,  who  rushes  in  crying,  "  Save  me  from  the  tyrant."  He 
explains  that  one  of  Gessler's  officers  had  abducted  his  daughter,  and  to  rescue  her  he 
had  killed  the  villain.  He  begs  the  fishermen  to  row  him  across  the  lake  to  safety.  They 
refuse,  not  daring  to  offend  the  tyrant,  and  because  of  the  storm  which  is  raging.  Tell 
appears,  rushes  to  the  boat  with  Leuthold  and  puts  out  on  the  raging  lake  just  as  the 
soldiers  of  Gessler  appear.  Baffled  of  their  revenge,  they  burn  the  village,  devastate  the 
fields,  and  strike  down  the  aged  Melcthal. 

ACT  II 

SCENE— A  deep  valley  in  the  Alps.  On  the  left  the  Lake  of  the  Four  Cantons.  Twilight 
Matilda  appears  and  muses  upon  her  love  for  Arnold.  Her  lover  now  joins  her,  and  an 
effective  love  scene  ensues,  which  is  interrupted  by  the  approach  of  Tell  and  Waller,  and 
Matilda  departs.  Tell  has  seen  the  young  man  talking  to  the  daughter  of  his  mortal  enemy, 
and  accuses  him  of  being  false  to  the  Swiss.  Arnold  confesses  that  he  loves  Matilda,  but 
says  he  will  renounce  her  if  his  country  demands  the  sacrifice. 

They  then  break  to  Arnold  the  news  that  Gessler  has  put  his  father  to  death,  and  feel- 
ings of  vengeance  drive  from  his  mind  all  thought  of  Matilda.  In  a  fine  trio  the  three 
patriots  call  upon  Heaven  to  aid  their  righteous  cause. 

Troncar  suoi  di     (His  Life  Basely  Taken) 

By  Paoli,  Cigada  and  Sillich  (In  Italian)     92O51      12-inch,  $3.OO 

ARNOLD:  Our  cause  propitious  Heaven  will  aid; 

His  life   the   tyrant   wickedly   hath   taken,  The     shade     of     your     father     our     souls     will 

And  yet  my  sabre  in  its  sheath   reposeth;  inspire! 

Alas!  my  father  his  son's  aid  was  needing,  Vengeance    it    calls    for,    and    not    lamentation; 

While  I   Helvetia  was  e'en  then   betraying.  Although   departed,   he   doth   seem   to   say. 

Heavens!    never   again   shall    I    behold   him!  Happy  in  his  destiny  hath  he  been; 

TRIO:  His   remains   a   martyr's   tomb    shall    hallow. 

May  glory  our  hearts  with  courage   exalt  Of  virtue  such  as  hi's  the  fit  recompense. 

Berlioz  writes  of  his  attempt  to  analyze  this  great  trio :  "  What !  Analyze  the  awf ul 
despair  of  a  son  who  learns  his  father  is  brutally  slain  ?  Note  the  details  of  a  flute  or 
second  violin  passage!  No, — i  can  only  cry,  'Wonderful,  superb,  heart-rending!'" 

The  men  of  the  cantons  now  assemble,  and  in  a  splendid  finale  swear  to  conquer  or  die. 

Domo,  o  ciel,  da  uno  straniero    (By  a  Vile  Foreigner  Subdued) 

By  Nestore  Delia  Torre,  Baritone  (In  Italian)     76013     12-inch,  $2.0O 

The  curtain  falls  to  a  magnificent  outburst  of  patriotism,  "To  arms!  To  arms!" 

ACT  III 

SCENE—  The  Grand  Square  of  Altorf—  Gessler's  Castle  in  the  background.     In  the  Foreground 

a  Pole  surmounted  by  a  Cap 

Gessler  and  his  barons  are  seated  on  a  throne  at  one  side  of  the  Square,  while  various 
amusements  are  given  for  their  entertainment.  It  is  here  that  the  superb  ballet,  one  of  the 
most  beautiful  ever  composed,  is  introduced. 

William  Tell  Ballet  Music— Parts  I  and  II        By  Pryor's  Band  *35O42    12-inch,  $1.25 
William  Tell  Ballet  Music— Part  III  By  Pryor's  Band  *  165  78    lO-inch,       .75 

*  Double-faced  Record— For  title  of  oppotite  side  see  DOUBLE-FACED  WILLIAM  TELL  RECORDS,  page  478. 

476 


VICTOR    BOOK     OF    THE     OPERA— ROSSINI'S    WILLIAM    TELL 


Gessler,  who,  with  much  satisfaction,  has  been  watching  the  populace  bow  to  the  cap 
•which  he  has  had  placed  on  a  pole  as  a  symbol  of  his  authority,  suddenly  notices  that  Tell 
and  his  son  fail  to  pay  honor  to  the  standard,  and  he  orders  them  seized  and  brought  before 
him.  He  asks  if  the  boy  is  Tell's  son,  and  when  Tell  replies,  "My  only  son,"  a  fiendish  idea 
strikes  the  tyrant.  He  orders  Tell  to  shoot  an  apple  from  the  boy's  head  on  pain  of  instant 
death  for  both.  Tell  refuses,  but  Jemmy  urges  his  father  to  obey, 
saying,  "  Father,  remember  your  skill !  Fear  not,  I  will  not  move ! " 

Tell  embraces  his  boy,  and  selecting  an  arrow,  manages  to 
conceal  another  in  his  coat.  He  casts  a  fierce  look  at  the  tyrant, 
then  aims  with  care  and  strikes  the  apple  fairly  in  the  centre. 
When  he  realizes  Jemmy  is  safe,  Tell  faints  and  the  concealed 
arrow  is  discovered.  "  For  whom  was  the  second  arrow  ?  "  de- 
mands Gessler.  "  For  you,  tyrant,  if  I  had  harmed  my  child  !  " 

Gessler  then  orders  both  put  to  death,  but  Matilda,  who  has 
entered,  demands  the  life  of  the  boy  and  takes  him  under  her 
protection.  Tell  is  taken  to  prison  amid  the  curses  of  the  Swiss. 

ACT  IV 

SCENE—  The  Ruined  Village  of  Act  I 

Arnold,  who  knows  nothing  of  the  capture  of    Tell,  has  come         I;ORITZ  AS  WILLIAM  TELL 
to  his  native  village  to  bid  farewell  to  the  home  of   his  boyhood. 
He  gazes  at  the  desolate  cottage  and  sings  his  charming  and  pathetic  air,  Oh,  Blessed  Abode. 

O  muto  asil  (Oh,  Blessed  Abode) 

By  Francesco  Tamagno,  Tenor  (In  Italian)     95OO9     lO-inch,  $5.00 

By  M.  Gautier,  Tenor  (In  French)  *45OO7     lO-inch,     l.OO 

By  Leon  Beyle,  Tenor  (In  French)  *45O26     lO-inch,     l.OO 

This   number,    one  of  the  most  effective  of  those  allotted  to  Arnold,    is  reposeful  and 

offers  a  fine  contrast  to  the  tumult  of  the  last  scene. 

ARNOLD-  Oh!   bless'd  abode,   within   whose  walls 

I   will  ne'er  abandon  my  resolve,  Mine   eyes  first   saw   the   light. 

My  heart's  thirsting  for  revenge!  Once  so  belov'd,  yet  now  thy   halls, 

William  the  tyrant  has  in  chains  imprison'd!  Bring  mis  ry   to   my   aching   sight. 

The  hour  of  battle  impatiently  I  wait!  In  vain   I  call;  no  fathers  greeting. 

What  silence  in  this  lone  place  doth  reign;  Which  fancy  now  to  me's  repeating. 

I  listen, — my  own  steps  alone  I  hear!  Will    e'er  again   these   ears  be   m     ting. 

Then  home  once  lov'd,   forevcrmorc,  farewell! 

~~*D^bk.FaceJRecord-For  tltk  ofopv»He  ,Ue  *e  DOUBLE-FACED  WILLIAM  TELL  RECORDS,  page  478. 

477 


VICTOR     BOOK    OF    THE     OPERA— ROSSINI'S    WILLIAM     TELL 


A  company  of  Swiss  patriots  enter  hurriedly  and  tell  Arnold  of  recent  events  at  Altdorf. 
He  calls  on  them  to  follow  him  to  the  rescue  of  Tell,  and  all  depart. 

SCENE  II— Lake  of  Four  Cantons. 
A  Storm  is  Gathering 

Tell's  wife  is  resting  here  on  hei  way 
to  demand  of  Cessler  her  husband  and  son. 
Suddenly  she  hears  her  son's  voice  and  is 
overjoyed  to  see  him  brought  to  her  by 
Matilda.  She  clasps  him  in  her  arms,  and 
anxiously  inquires  for  her  husband.  Ma- 
tilda says  that  Tell  has  been  removed  from 
Altdorf  Prison,  and  taken  across  the  lake. 
She  has  no  sooner  spoken  than  Tell  ap- 
pears, having  escaped  from  the  boat  and 
sent  an  arrow  through  the  tyrant's  heart. 
Arnold  and  the  patriots  appear,  rejoicing 
that  Gessler  has  been  slain  and  that  the 
Swiss  are  free  once  more. 

The  storm  breaks,  and  as  if  to  an- 
nounce liberty  to  Switzerland  the  sun 
bursts  forth,  revealing  the  glittering,  snowy 
peaks  of  the  Alps  in  all  their  dazzling 
beauty.  An  invocation  to  Freedom  comes 
from  every  throat : 

TELL: 

Let  us  invoke,  with  hearts  devout, 
Thee,  oh  Freedom,  to  sway  each  heart! 
Thou  gav'st  us  pow'r  to  strike  and  conquer, 
Do  thou  ne'er  depart! 

ALL: 

Thou  gav'st  us  pow'r  to  strike  and  conquer! 
We  are  free,  do  thou  ne'er  depart! 


DOUBLE-FACED   AND    MISCELLANEOUS  WILLIAM  TELL   RECORDS 


35121 


(Overture,  Part  I— At  Dawn 
(Overture,  Part  II— The  Storm 
/Overture,  Part  III— The  Calm 
(Overture,  Part  IV — Finale 
/Overture,  Part  I— At  Dawn 
(Overture,  Part  II— The  Storm 
/Overture,  Part  III — The  Calm 
(Overture,  Part  IV— Finale 
/Ballet  Music,  Part  I 
1  Ballet  Music,  Part  II 
/Ballet  Music,  Part  III 

\     Profeta—Re  del  cielo     By  Luigi  Colazza,    Tenor 
/William  Tell  Fantasie     Xylophone  By  Wm.  H.  Reitzl.  _.  __ 

\     Omena  Intermezzo     (Hartz)     Banjo  By  Fred  Van  Epsf l  ' 

Asile  hereditaire     (Oh !    Blessed  Abode) 

By  M.  Gautier,  Tenor  (In  French) 

Les  Huguenots — Plus  blanche     (Meyerbeer) 

By  M.  Gautier,   Tenor  (In  French) 

Accours  dans  ma  nacelle — Barcarola    (Come,  Love,  In  My 

Boat)     By  M.  Regis,  Tenor  (In  French) 

Asile  hereditaire     (Oh !    Blessed  Abode) 

By  Leon  Beyle,  Tenor  (In  French) 

478 


By  Pryor's  Band\    , 
By  Pryor's  Bandf1638C 
By  Pryor's  Band\, 
By  Pryor's  Band/lb381 
By  Pryor's  BandU-.,,- 
By  Pryor's  Band/35120 
By  Pryor's  Band\ , 
By  Pryor's  Bandf 
By  Pryor's  Band\          , 
By  Pryor's  Band/35042 
By  Pryor's  Band) 

(In  Italian}}1**578 


lO-inch,  $O.75 

10-inch.  .75 

12-inch,  1.25 

12-inch,  1.25 

12-inch,  1.25 

lO-inch,  .75 

10-inch,  .75 


45OO7      lO-inch,     l.OO 


45026     10-inch,     1.00 


ZAZA 

OPERA  IN  FOUR  ACTS 

Libretto  adapted  by  the  composer  from  a  play  by  Simon  and  Berton ;  music  by 
Ruggiero  Leoncavallo.  First  production  in  Milan,  1900.  First  American  production  at  the 
Tivoli  Opera  House,  San  Francisco,  November  27,  1903.  Revived  in  November,  1913,  at  the 
New  Tivoli,  San  Francisco,  under  the  direction  of  Leoncavallo  himself. 


Characters 

ZAZA 

ANAIDE 

FLORIANA 

NATALIE 

SIGNORA  DUFRESNE 
MILIO  DUFRESNE 

CASCART.  .  .  .  .  .A  concert  hall  singer 


....  A  concert  hall  singer 

Her  mother 

...  .A  concert  hall  singer 
.    Zaza's  maid 


BUZZY 

MALARDOT 
LARTIGNON 
DUCLOU . . . 

MlCHELIN .  . 

MARCO.  . . 


A  journalist 

.The  proprietor  of  the  concert  cafe 

A  monologue  artist 

Stage  manager 

A  journalist 

Valet  of  Signer  Dufresne 


Singers,  Dancers,  Scene  Shifters,  Firemen,  Property  Men,  etc. 


Time  and  Place  :     Paris  ;  the  present  time. 


Zaza  has  had  some  success  in  London,  Paris  and  Berlin,  but  has  never  been  givenin 
New  York,  although  several  Zaza  excerpts  were  given  at  the  Leoncavallo  concerts  in  1906, 
when  the  composer  visited  America.  The  story  is  quite  familiar  to  American  audiences, 
however,  through  the  performances  of  the  play  of  that  name,  which  has  been  heard  in 
many  countries  and  many  languages,  and  the  musical  version  follows  closely  the  original  play. 

479 


VICTOR  BOOK  OF  THE  O  P  E  R  A— LEON  C  AVALLO  '  S  ZAZA 


The  rising  curtain  discloses  a 

stage  set  in  two  sections,  at  one 

side  the  dressing  room  of  Zaza, 

and    at    the   other  the  end  of   a 

stage    setting.     Zaza,    a    concert 

hall  singer,  is  in  love  with  Dufresne, 

and    boasts   to   Buzzy,    the    jour- 
nalist, that  she  will  have  his  love 

in    return.     She    exerts    all     her 

charms,  and  Dufresne  finally  falls 

in  love  with  the  fascinating  singer. 
The   second   act  takes  place 

in  the  reception  room  of  Zaza 's 

house.    Dufresne  tells  Zaza  that  he 

must  leave  her  to  go  to  America 

for  several  months.     She  pleads 

with  him  not  to  go,  and  he  finally 

consents  to  postpone  his  trip,  but 

tells  her  he  must  go  16  Paris  at 

once  on  business.     Cascart,  an  old 

lover  of  Zaza 's,  enters  and  hints 

that    Dufresne    may    have    other 

reasons  for  the  trip,  and  speaks 

of    seeing    him     in     Paris     with 

another  woman.     Zaza 's  jealousy 
is  aroused,  and  she  announces  her  intention  of  following  him  to  Paris. 

The  third  act  shows  a  room  in  Dufresne's  house  in  Paris.  Zaza  enters,  accompanied  by 
her  maid,  and,  discovering  a  letter  addressed  to  Signora  Dufresne,  she  realizes  that  he  is 
married.  His  little  girls  enter,  and  finally  Signora  Dufresne  herself,  who  gazes  with  astonish- 
ment at  the  visitor.  Zaza  merely  says  she  has  made  a  mistake  in  the  house  and  goes  away. 

The  scene  of  the  last  act  is  again  Zaza 's 
house  in  the  suburbs.  Cascart,  who  has 
learned  of  the  singer's  visit  to  Paris,  pleads 
•with  her  to  give  up  Dufresne,  but  she  only 
laughs  at  the  suggestion  and  Cascart  reminds 
her  sternly  that  it  is  a  matter  of  duty. 
Cascart  leaves  and  Dufresne  is  announced.  He 
greets  Zaza  in  the  old  affectionate  way,  but 
she  informs  him  she  knows  of  his  marriage, 
but  that  she  forgives  his  deception.  She 
declares  she  has  told  Signora  Dufresne  of  their 
intimacy,  and  in  a  rage  he  curses  her.  She 
then  sends  him  away,  crying  she  is  cured  of 
her  love,  after  assuring  him  that  her  first 
story  was  untrue,  and  that  Signora  Dufresne 
really  knows  nothing  of  the  affair. 

The  role  of  Cascart  is  one  of  Titta  Ruffo's 
best,  and  his  rendition  of  the  great  air,  Buona 
Zaza,  del  mio  buon  tempo,  from  the  second 
act,  is  a  magnificent  one. 

The  second  selection  made  by  the  bari- 
tone is  the  air  from  Act  IV,  sung  by  Milio 
just  before  the  parting  of  the  lovers.  It  is  a 

DUFRESNE  DENOUNCING  zAZA-Acx  iv  ^ft  effect!£;  "umber    emotional  yet  very 

melodious.     Those  who  hear  these  fine  airs 
are  likely  to  regret  that  the  work  has  not  been  adequately  presented  here. 

Buona  Zaza,  del  mio  buon  tempo 

By  Titta  Ruffo,  Baritone  (In  Italian)     87114      lO-inch.  *2.OO 


Zaza,  piccola  zingara    (Zaza,  Little  Gypsy) 

(In  Il( 


By  Titta  Ruffo,  Baritone 


lalian)     87125      10-inch,  $2.0O 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


'990 


"'13  1992 
QUARTER  LOAN 

OCT  171994 


I!  !! 


I! 


ii!  i 


